Music Critics

"In almost every edition (and consequently most performances) of Chopin's Sonata in B flat Minor, Op. 35, there is a serious error that makes awkward nonsense of an important moment in the first movement. The repeat of the exposition begins in the wrong place."

"The secret of avoiding monotony with the four-bar module was to vary the accent and the weight of the bars to avoid giving a similar emphatic accent on the first bar of every group, as if one were accenting a downbeat. After Beethoven and before Brahms, perhaps the greatest master of the technique was Chopin, as one can see from the opening of the Nocturne in D flat Major, Op. 27, no. 2, of 1836 ..."

"When I was a small child, The New York Times received every new creation of Igor Stravinsky with hostility, but even then I knew, like everybody else, that he was the greatest living composer-and I knew it even without having heard much Stravinsky or even any of the more recent works at all. It is a mistake of music historians to rely too much on journalists and music critics to assess a composer's reputation, as we generally find a certain delay in their transmission of the more influential professional judgments."

"There is a revealing sardonic comment by Leopold Godowsky on a well-known statement of Paderewski, who once boasted, "When I don't practice for one day, my fingers know it; for two days, and my friends know it; for three days and the whole world knows it." Godowsky added: "On the fourth day, the critics hear about it." In any case, poets and novelists are generally better reporters of the general state of musical opinion than music journalists, who most often have an ax to grind, or, quite reasonably and justifiably, a more limited set of prejudices to broadcast."

"Normally, misprints are either easily corrected or else so trivial that it makes no difference whether we play the correct or the faulty version. ... Nevertheless, on rare occasions, a misprint or slip of the pen may challenge our view of the musical language. These extreme cases may help us understand a little more about the way music acquires meaning, or what it means to say that the music makes sense."

"Only once in Chopin's music is there a direct reference to Bach, and that is, appropriately, at the beginning of his only educational work, the two sets of Etudes, Op. 10 and 25, and the three Nouvelles Etudes for Moscheles. In the first Etude, Op. 10, in C major, we find a modernized version of the Prelude no. 1 of the Well-Tempered Keyboard..."

"If getting used to music is the essential condition for understanding, it is hard to see just what purpose is served by writing about it. A few experiences of listening to a symphony or nocturne are worth more than any essay or analysis. The work of art itself teaches us how to understand it, and makes the critic not merely parasitical but strictly superfluous."

"Critical evaluation was transformed into understanding, and criticism became not an act of judgment but of comprehension."

"We can see that canonic status is accorded to the works of a composer not by posterity, or at least not by a posterity as distant in time as is sometimes thought; nor does it depend very much on whether the works are frequently performed for the public in every important musical center. To a certain extent, canonic status is actually built into some new works, partly by the way they impose themselves on an already substantial musical tradition. This may explain why it is so difficult to alter a firmly installed canon in any radical way, or to dislodge works that have been an integral part of it for some time."

"Some of the Etudes in the first set, opus 10, were written by the time Chopin was twenty. It is with these pieces that Chopin's style was fully revealed in all its power and subtlety. Later works are sometimes more ambitious and, in a few cases, more audacious, but there were no radical changes of style, nothing to compare to the later revolutions we find in the careers of Haydn and Beethoven, or even in the shorter lives of Mozart and Schubert. Chopin's mastery was proven with the twelve Etudes of opus 10."

"Our sensuous appreciation of the world and of the works created by man has, no doubt, a biological foundation, one shared by all human beings, but that is no use to us when we try to evaluate a Bach fugue or a Dostoevsky novel-or even the simple experience of a landscape, as our delight in the view of a mountain or a waterfall is also determined by the traditions of our culture. The coexistence of different criteria of judgment is, in any case, by now a fact of life. Beethoven cannot be judged or even understood by the standards of Mozart, however much he may have continued them, nor Berg by the standards of Wagner or Richard Strauss, nor Elliott Carter by the values of Ives and Stravinsky."

"The creation of a classical style was not so much the achievement of an ideal as the reconciliation of conflicting ideals-the striking of an optimum balance between them."

"The mazurka provided him with a repertoire of motifs, rhythms, and sonorities outside the main Italian, French, and German traditions of European music: he used it to create a series of works within this tradition which are absolutely personal—marginal works which challenge the center. They are the most eccentric and original of Chopin's works. We shall never know exactly what and how much Chopin took directly from the popular folk tradition and how much he invented, but it does not matter: his originality is revealed as much in what he selected as in what he imagined. The folk dances gave him the possibility of exploring new harmonies, of exploiting the emotional effect of obsessive repetition, and of developing a new form of rubato."

"More positively, taking pleasure in music is the most obvious sign of comprehension, the proof that we understand it, and we may extend that to sympathy with other listeners' enjoyment ..."

"The buffoonery of Haydn, Beethoven, and Mozart is only an exaggeration of an essential quality of the classical style. This style was, in its origins, basically a comic one."

"The musical language which made the classical style possible is that of tonality, which was not a massive, immobile system but a living, gradually changing language from its beginning. It had reached a new and important turning point just before the style of Haydn and Mozart took shape."

"We can, in fact, relive the history of taste in our own lives, the way embryos are supposed to go through the history of the evolution of a species."

"This is the true paradox of Chopin: he is most original in his use of the most fundamental and traditional technique. That is what made him at the same time the most conservative and the most radical composer of his generation."

"I do not mean that it is not worthwhile to attempt a revision of the canon or that no success is possible. A few valuable minor changes have been made to our sense of the basic material of the history of music, and other alterations are still waiting to take hold. Gesualdo has not displaced Monteverdi or Palestrina but has won a permanent place; on the other hand, the attempt to convince us that Telemann is a major composer appears to have been abandoned. Alkan has not had the breakthrough his admirers had hoped for. Attacks on Tchaikovsky have not had much success in removing his music from the repertory; his credit with performers has not changed a bit."

"In Shakespeare's The Merchant of Venice, act V, scene 1, we find this exchange between the two young lovers: JESSICA: I am never merry when I hear sweet music LORENZO: The reason is, your spirits are attentiveThe opening of the finale of Beethoven' s 'Emperor' Concerto provides a splendid example of the kind of theme that is the inspiration for this book. A completely unified theme that hangs together beautifully, it nevertheless portrays vividly a series of contrasting sentiments in a succession that amounts to a small narrative ..."

"Mendelssohn is the inventor of religious kitsch in music. His first essay in this genre is a masterpiece, the Fugue in E Minor, published in 1837 but written ten years earlier, when the composer was eighteen ..."

"For Mendelssohn, Beethoven was the new point of departure, and a German composer could not afford to ignore him, as Chopin and Verdi were able to do."

"The most signal triumphs of the Romantic portrayal of memory are not those which recall past happiness, but remembrances of those moments when future happiness still seemed possible, when hopes were not yet frustrated."

"Trump is not an idiot at all, but those who voted for him are."

"Zappa was not a protester or an activist. He was merely a man who used his brain."

"I really think we should modify the law so that one can be sued for defaming not only living people but also the memory and reputation of people who died centuries ago."

"Mass shooters and serial killers are white Christian men, with rare exceptions, and frequently with Anglosaxon last names."

"Philosophy is the art of turning solutions into problems"

"The fact that so many books still name the Beatles "the greatest or most significant or most influential" rock band ever only tells you how far rock music still is from becoming a serious art. Jazz critics have long recognized that the greatest jazz musicians of all times are Duke Ellington and John Coltrane, who were not the most famous or richest or best sellers of their times, let alone of all times. Classical critics rank the highly controversial Beethoven over classical musicians who were highly popular in courts around Europe. Rock critics are still blinded by commercial success: the Beatles sold more than anyone else (not true, by the way), therefore they must have been the greatest. Jazz critics grow up listening to a lot of jazz music of the past, classical critics grow up listening to a lot of classical music of the past. Rock critics are often totally ignorant of the rock music of the past, they barely know the best sellers. No wonder they will think that the Beatles did anything worth of being saved."

"Philosophy is the art of saying something incredibly stupid and making it sound incredibly intelligent."

"Beatles' "aryan" music removed any trace of black music from rock and roll: it replaced syncopated african rhythm with linear western melody, and lusty negro attitudes with cute white-kid smiles."

"The paradox of innovation is that it is accepted as an innovation when it has become imitation."

"...but defining their sound was Little Girls, an exuberant ska wrapped in an electronic patina, with modernist vocals à la XTC and a touch of dementia."

"What we understand is not enough to understand why we understand it. (Signature line on his emails)"

"If an animal spread plastic garbage all over the planet, we would certainly exterminate it."

"The ones who do not wander are the ones who are truly lost"

"We are swimming in the lake in which future generations will drown"

"When the impossible happens, everybody has a very simple explanation for why it was inevitable"

"The most difficult part of finding a solution is to accept that there is a problem"

"Why are there age limits? why can't i marry a 12-year old? Helen of Troy was 12. Juliet and Cleopatra were still teenagers when they became famous. Most heroines of classic novels and poems were underage by today's laws. Thomas Edison married a 16-year-old. Medical studies show that the best age for a woman to have children is between 15 and 25 (lowest chances of miscarriage, of birth defects and, last but not least, of the woman dying while giving birth); while the worst age is after the mid 30s. And the younger you are, the more likely you are to cement a real friendship with your children; the older you are, the more likely that the "generational gap" will hurt your children's psychology. Therefore it is much more natural to have a child at 16 than at 40."

"Michael Brown was a thug."

"Mass culture is a way to escape from the psychological suffering that comes with that insight into the human condition, an escape alternative to the one preached by world religions. Mass culture is a modern invention to escape from existential anguish."

"If the cop honestly felt that this was a young black man (as politically incorrect as it sounds, this is the most violent category of people in the USA in 2014) aiming a gun at him, the cop can hardly be blamed for shooting first."

"Question answers instead of answering questions."

"If you tend to text and skim the surface of the Internet, you indirectly shape your mind to only deal with superficial matters."

"Great art is an instant arrested in eternity."

"He dares to be a fool, and that is the first step in the direction of wisdom."

"Barry supported the lady, whose voice was not powerful enough for the big auditorium. I asked him how she succeeded—I was at another theatre. "Obscene but not heard," he answered."

"My experience of the original Edison phonograph goes back to the period when it was first introduced into this country. In fact, I have good reason to believe that I was among the very first persons in London to make a vocal record, though I never received a copy of it, and if I did it got lost long ago. It must have been in 1881 or 1882, and the place where the deed was done was on the first floor of a shop in Hatton Garden, where I had been invited to listen to the wonderful new invention. To begin with, I heard pieces both in song and speech produced by the friction of a needle against a revolving cylinder, or spool, fixed in what looked like a musical box. It sounded to my ear like someone singing about half a mile away, or talking at the other end of a big hall; but the effect was rather pleasant, save for a peculiar nasal quality wholly due to the mechanism, though there was little of the scratching which later was a prominent feature of the flat disc. Recording for that primitive machine was a comparatively simple matter. I had to keep my mouth about six inches away from the horn and remember not to make my voice too loud if I wanted anything approximating to a clear reproduction; that was all. When it was played over to me and I heard my own voice for the first time, one or two friends who were present said that it sounded rather like mine; others declared that they would never have recognised it. I daresay both opinions were correct."

"Music is the outward and audible signification of inward and spiritual realities."