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Note: this Renascence Editions text was transcribed by Risa S. Bear, June , from the Nonesuch Press type facsimile of the libretto. Any errors that have crept into the transcription are the fault of the present publisher. The text is in the public domain. For nonprofit and educational uses only.


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Send comments and corrections to the Publisher. John Eccles, Mr. And finally, to judge , because analysis on its own is not enough.

THE JUDGMENT OF JERUSALEM

The critic should evaluate, assess, do justice to what they themselves have felt. Not entirely. A record review is far more about the absolutes of interpretation. For a long time, the ambition of record critics was to determine a reference recording. Early on, I have questioned this idea — at least in the singular — I believe that any work can have more than one reference recording.

Besides, tastes change, so one has to take care. So one starts to compare, to examine how this recording writes its name in the history book of interpretations. A concert review is more disconnected from all that, since it deals not with a manufactured object whose purpose is permanent, but with a transient moment, a moment which is unique and not reproducible.

One can make a live recording, of course, but it becomes a different entity. Sergiu Celibidache had it right when he supported the idea that music happens in a given point in space and time and that a recording is nothing more than a pale copy which, at its fundamentals, betrays the here and now of the concert.

It was so magical! The concert review should live in the moment, the fleeting instant.

Laura Bailey (voice actress)

I would make a strict differentiation between informative musical journalism interviews, previews, reports and music criticism which evaluates and presents a critical judgement. That upsets me, because I believe that the critical review is essential, not least as a thing that informs taste.


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  • So this reduction in the role of criticism is highly frustrating, not just for me but for the directors of concert halls and orchestras, and the performers who demand press criticism. The first criticism websites, twenty or so years ago, were generally characterised by an amateur approach, in the worst sense of the word.

    Reviews were badly written, often dense and lost in detail… or with a fanzine edge, a groupie attitude which excluded critical judgement.

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    But steadily, music criticism has evolved. What to make of the Internet? We tried to determine criteria, but it was difficult because, broadly speaking, none of the approaches worked. A press card?

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    The problem is that today, there are some really competent people writing on those sites. Some things have come out in the wash and the most serious and solid sites have come out in front, even if others are only moderately professional.

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    Does that ballooning of the amount of criticism on the Internet reveal a crisis for the profession of criticism? Trowler seems clear. But what about comparable roles in other professions?

    So that, too, seems to offer evidence of various ways for leaders to act. Doctors and nurses have no shortage of leaders, but social work cries out for a hero.


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