1 de des. 2004


Les crítiques dels concerts de música clàssica haurien de ser diferents. I no cal celebrar un simpòsium per arribar a aquesta conclusió. Però n'han fet un a Nova York fa un mes i escaig més d'un centenar crítics que escriuen a diaris d'Estats Units, Dinamarca, Israel, França, Canadà, Alemanya, Regne Unit i Rússia. D'una partitura que han compost entre dos dels ponents, Alex Ross i Justin Davidson, la crítica en destaca els següents compassos:

· Ross: "Classical music has an actual audience and a potential audience. I try to write with both fanatical and unconverted readers in mind. The trick is in finding a language that intrigues both."
· Davidson: "The probability that a concert will be very, very good doesn't necessarily justify writing about it. The question is: What's the story?"
· Ross: "Nothing is more off-putting than the critic who puts down one kind of music in order to praise another. There is no need to mention Britney Spears until such time as Ms. Spears writes her first piano quintet."
· Davidson: "Criticism of any kind needs to get outside itself. Movie reviews shouldn't just be about acting and camera angles. Music reviews should be about more than just notes."
· Ross: "If the big orchestra is playing the same repertory ad nauseam, I don't have to complain ad nauseam. Instead, I can seek out youth orchestras, new-music ensembles, chamber groups playing in inner-city schools. Critics can take the lead in showing where music should go."
· Ross: "There is nothing shameful in unchecked enthusiasm. If I walk out dancing on air, I say it in the review, even if my colleagues smirk."
· Davidson: "I try to write with the same decisiveness and passion that I demand from performers."