"Music, Sense and Nonsense: Collected Essays and Lectures", por Alfred Brendel.

Capítulo: “Thanking the Critics - London Critic’s Circle Award

Alfred Brendel ganó en 2003 el London Critic’s Circle Award, el cual que se otorga a quienes han prestado por un largo tiempo un servicio distinguido a las artes. Este premio se ha entregado a Ninette de Valois, Alicia Markova, Judi Dench, Ian McKellen, Helen Mirren, entre otros.
En su discurso, Brendel confiesa que aún en ese punto en su vida y con el gran éxito alcanzado, sigue teniendo algo de la aprehensión que tenía en un principio cuanto trataba de consolidar su prestigio con la ayuda con la prensa, y a veces sin ella.
Brendel agradece en particular a los críticos que después de su primer recital en Graz, Austria, le predijeron un futuro brillante, y a William Mann, quien lo describió en “The Times” uno de sus primeros conciertos como “un recital en mil”.
Brendel también agradece en retrospectiva al “New York Times” que por varios años lo menospreció, por demostrarle que es posible ganar admiradores y establecer una reputación a pesar de él.

A pesar de haber escrito algunas reseñas, haber ocasionalmente ventilado públicamente sus recelos sobre Glenn Gould y reconocer en algunos de sus colegas lo que un gran intérprete puede alcanzar, Brendel no se considera un crítico.
Brendel prefiere hablar de la facultad crítica con la que se siente más familiarizado: la autocrítica: “One’s own performances, musical goals and perspectives need to be continuously aired, scrutinised and measured with the yardsticks of the compositions themselves.”
Para Brendel también es importante que no todo sea autocrítica. “Where there is a healthy balance between elation and scepticism the performer is in the right track providing that there is also talent, patience, perseverance, vision, a sound constitution and luck.”
Brendel limita esta autocrítica al plano musical. “A famous pianist once stated that the ethos of a performance was inextricably linked to each and every bite the performer undertakes to swallow. This, I believe, is nonsense. The human being and the artist often operate…
on very different levels if not in different worlds and no one has yet been able to explain the gap between the almost limitless range and accomplishment of the great artist and his limitations as a private person. The idea that the artist necessary mirrors the man is a fallacy."
Para finalizar su discurso, Brendel menciona el obituario que Goethe y Zelter escribieron después de la muerte de Haydn. En el decían que en la música de Haydn encontramos al mismo tiempo ingenuidad e ironía, las características distintivas de un genio.
“I have never considered myself a genius, yet this dichotomy - next to that of chaos and order - has told me something about my own frame of mind. I think it may serve well, not just for geniuses, but as the bond that unites them with civilized critics and performers.”
Este capítulo es el penúltimo de este libro, que ha sido un compañero excepcional en este caótico y difícil último año. Afortunadamente ya tenemos tres nuevas opciones para este 2021:
¿Con cuál preferirían que empecemos?
@threadreaderapp unroll

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Great article from @AsheSchow. I lived thru the 'Satanic Panic' of the 1980's/early 1990's asking myself "Has eveyrbody lost their GODDAMN MINDS?!"

The 3 big things that made the 1980's/early 1990's surreal for me.

1) Satanic Panic - satanism in the day cares ahhhh!

2) "Repressed memory" syndrome

3) Facilitated Communication [FC]

All 3 led to massive abuse.

"Therapists" -and I use the term to describe these quacks loosely - would hypnotize people & convince they they were 'reliving' past memories of Mom & Dad killing babies in Satanic rituals in the basement while they were growing up.

Other 'therapists' would badger kids until they invented stories about watching alligators eat babies dropped into a lake from a hot air balloon. Kids would deny anything happened for hours until the therapist 'broke through' and 'found' the 'truth'.

FC was a movement that started with the claim severely handicapped individuals were able to 'type' legible sentences & communicate if a 'helper' guided their hands over a keyboard.
One of the authors of the Policy Exchange report on academic free speech thinks it is "ridiculous" to expect him to accurately portray an incident at Cardiff University in his study, both in the reporting and in a question put to a student sample.

Here is the incident Kaufmann incorporated into his study, as told by a Cardiff professor who was there. As you can see, the incident involved the university intervening to *uphold* free speech principles:

Here is the first mention of the Greer at Cardiff incident in Kaufmann's report. It refers to the "concrete case" of the "no-platforming of Germaine Greer". Any reasonable reader would assume that refers to an incident of no-platforming instead of its opposite.

Here is the next mention of Greer in the report. The text asks whether the University "should have overruled protestors" and "stepped in...and guaranteed Greer the right to speak". Again the strong implication is that this did not happen and Greer was "no platformed".

The authors could easily have added a footnote at this point explaining what actually happened in Cardiff. They did not.

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I think a plausible explanation is that whatever Corbyn says or does, his critics will denounce - no matter how much hypocrisy it necessitates.

Corbyn opposes the exploitation of foreign sweatshop-workers - Labour MPs complain he's like Nigel

He speaks up in defence of migrants - Labour MPs whinge that he's not listening to the public's very real concerns about immigration:

He's wrong to prioritise Labour Party members over the public:

He's wrong to prioritise the public over Labour Party