THE WEEK'S MUSIC

New Zealand Listener, Volume 32, Issue 817, 25 March 1955, Page 5

THE WEEK'S MUSIC

Sir-In reply to Mr. L. D. Austin’s letters, I doubt greatly whether the first requirement of a critic is, as he states, "clarity of expression." If a critic cannot form an intelligent balanced opinion, no command of the English language can help him. The few colloquialisms used by "Sebastian" are perfectly clear to most people, and constitute no great insult to the masters of music. This matter of disrespect to dead composers is I feel of exaggerated importance. I have heard many orchestral players swear vociferously over passages of Beethoven. That gentleman still sleeps soundly despite it all, and his music is no whit the worse for it. Colloquialisms can be forgiven, but not misinformation, and here Mr. Austin himself is gravely at fault. Any concerto, he’ stated previously, that does not show off the skill of the performer fails to justify its title. His text book informs him that "A concerto is an instrumental _composition designed to show off the skil! of an executant." Nonsense! Any knowledgeable musician could quote a dozen concertos that will not stand by this definition. Apart from the "orchestral concerto," the basis of a concerto is con-

trast, between two or more (generally) unequal forces. Your correspondent has apparently heard few 17th or 18th Century concertos. And what possible basis can he have for his. incredibly sweeping statement about Saint-Saens! "For versatility and general excellence of accomplishment, he had no peer." Mr, Austin, who apparently sets himself up as a critic, should remember that criticism, like charity, begins at home. One who sets himself the herculean task of judging others must first purge his own soul from preconceived likes and dislikes. Then, if he has the necessary knowledge and sense of values-and a sense of humour -he may eventually become a critic. Otherwise ...

ALWYN

OWEN

aS Rotorua).