Evening star., 1937-06-26


The majority Of musicians not only
look forward to a criticism of a
world-famous artists recital, but are
themselves loud in voicing a sharp
judgment on the performance they
have paid to hear But accepting an
adverse opinion, II given. on the quail
ity Of their own work is very hard for
them to accept.
This question Of criticism is an in
eeresting one at all times. To some
the word is synonymous with praise
and to others with blame It is
curious fact that from time immemo-
rial certain people have been desig-
mated to be critics, to pass professional
judgment on the performances of those
displaying their wares before the musi-
cal public and to form the ideas and
10 direct the critical faculties of the
average individual in the right path.
But since the definition of criticism
seems to have a personal angle when
praise is given, it will not please some,
and when blame is the theme of a
review it will bring bitter reaction from
others. There seldom seems to be
complete agreement between the pro-
fessional critic, if he may be so called,
and the amateur.
If an understanding of what criti-
eism implies and the grounds on
which 1t is based could be arrived at,
there would be kindly feelings
throughout the land. There are so
hot ;,,to
passing Of an opinion on the merits of
a performance or composition that
prohibit narrowing down to a classi-
fication under the heading of praise
or blame. But these points are rarely
grasped by the ordinary concert goer
who is dominated by his emotional re-
actions to performance or hampered
by his lack of musical knowledge and
education.
NO ONE can hear musical pres
entation without some personal
emotional feeling of some kind or
other. But to have this feeling con-
troll the entire reaction without cold
logic back of it disqualifies one from
any respectful consideration as a dis
seminator of opinion. The one point
which should be looked for, and which
critic welcomes AS ray of sunlight
In an otherwise gloomy world, is the
power Of performer, be he artist or
student, to awaken emotion in the
the performer already bears the di-
vine stamp and has something which
warrants investigation But to see no
further than the gift of feeling senti-
ment and transmitting it to others,
Is dangerous and sentimental atti-
tude
For into the presentation of any
work there are quite commonplace
things which must be taken into ac-
count and which can be Judged accu-
rately only by long experience and
long study-in other words. musi-
cal background, If there be no consid-
Grafton of the musical character of
work or the necessary technical way
Of emphasizing it. or if there be dis
regard for elementals such as rhythm,
tone and intonation. the mere presence
OF temperament will not suffice. After
such points have been considered.
comes the question Of whether per-
former has anything new and different
to give or If he is content with doing
we'll what many have done before him
Critics have difficult time in giving
proper consideration to the hazards
that surround every performance 1t
is constant experience to have pleas
come in for taking into account the
hard work involved, the handicaps
Of a performer or the problems of a
presentation. Teachers who appre-
clate the amount of progress made
by pupil in year will feel that
this should bring about a kindly es-
innate that will encourage student
In continuing the good work But
it is not critics duty to know the
ins and outs of what he is to judge,
no matter how harsh that statement
may seem. When any one appears