New-York tribune., 1922-05-14
By II. E. Krehhiel

By II. E. krehbiel
We have had ample occasion dur,ne
an experience Of nearly half century
as reviewer of musical affairs 70,
Galiy newspapers to learn about 81
there is TO be learned, we fancy. touch.
ing the pains and penalties inciden.
to the profession. Within the last
few days we have been permitted also
10 enjoy some of the rewards outside
OF those which have always been ours
eh'ef OF which we count to be an un-
troubled conscience. Of necessity SO
long an experience has brought with
It observation of many changes. the
most striking of them being q vast out
put in musical offerings. The phrase
sounds commercial or industrial and
'vc would have preferred to say vast
gFowth in musical appreciation, as
we should have done were we able con-
identity to assert that the growth in
culture has kept pace with the oppor-
,tnitles for its attainment which have
offered themselves. The relationship
@tween the two phenomena is not
our concern at present, In one thing
taefe has been no change for half a
>>Atury. We shall venture no word
pom the half century preceding the
';>st. or the centuries preceding that,
i1r We fancy the experience of which
We are speaking was paralleled when
vic flrst newspaper reviewer discussed
the doines of the first singer, violinist,
autist. harns ichordist, dancer. pugilist
or acrobat. Whether he wrote in praise
or di5praise was a matter of indffcr-
ace somebody yielded to natural de-
rnavity or the itch for writing and
-amned the reviewer for not holding
ne same view with him. To hold such
ews was, of course, an impossibilty.
because the promptings were different
tnonymous Expressions
Gf Animosity
We are speaking of the majority of
tie critics critics-of the rule which
letters to the editor, or to the critic
eEemplify. 1t happens that occasion
;..y sincere art lover has desire to
Z &c his mind Of haunting thoughts or
.'t2olleS and does so in n manner that
! axes for popular enlightenment. We
{ ~! cite such case presently; but in
neral the motive of the writer is ami
.os,ty toward or friendship for tho
J crson criticized, and whether the critic
- lauded, condemned or has held
; Ait the scales of discriminativc
: alyses, lie finds himself between the
tfper and the neither millstono.
Al this is SO elementary that we
company it with an apology. We
rte the prelude only to intro
tee the theme on which it is aiways
, ssible to make variations. But as
4dalotory passage it may be said
LAT we know of nothing so entirely
-"sted as the efforts to hurt the fccl-
g of critic. Unless he is extreme
J.. young in his profession he has
r,rned to accept insults with the con-
.nptuous good nature with which ex
Ieiicnce has panoplied him. They are
ways cowardly because they are al
"@ys anonymous. If their writer's felt
lat they were in danger Of having
.oeir faces slapped as they deserved.
they would not write them. Being an
r&discoverablc few among millions
hey feel safe. They are safe, for even
whom their letters reach the critics.
Uaieh is not always the case, they are
lad with g smile, consigned to the con-
Nenient waste basket and forgotten.
1aey are the too ordinary incidents
o. critics life to occupy his atten-
ton. 1t has been the custom Of The
ribune's music reviewer or reporter,
or critic Of you wild, however. in
matters which have seemed to him
worth while to learn, If possible, the
identity Of his critics and to give their
letters personal and, we hope, cour-
feous attention. In this effort he has
been thwarted. How? Let us
&. We concrete example, because it is
of the propositions which
we have advanced.
! Fictitious Signatures and
7 ise Addresses