THE VARIABILITY OF CRITICISM.

New Zealand Graphic, Volume V, Issue 44, 1 November 1890, Page 1

THE VARIABILITY OF CRITICISM.

The critics often differ very widely from each other in estimating the merit of musical works and musical performances. This need not be wondered at, seeing that such differences of dpinion have ever prevailed amongst professional critics. One, J. N. Forkel, the author of a history of music published in the last quarter of the eighteenth century, speaks most con. tenrptuously of Gluck’s musical works. Thibant, in his work on the purity of music, published in 1825, ridicules Weber’s ‘ Overture to Oberon,’ and entertains but a very poor opinion of the great instrumental compositions of Beethoven. Spohr spoke most depreciatingly of Beethoven’s ‘Symphonies,’ and also of Weber’s ‘ Der Freischutz.’ Mozart thought very little of Clementi, and Rochlitz states that a certain reviewer, speaking of Beethoven's ‘ Trios,’ regarded them as * confused explosions of the bold wantonness of a young man of talent.’ Spazier, writing upon Beethoven’s • Second Symphony in D Major,’ called it ‘a coarse monster—a piereed dragon withering indomitably, which will not die, and which, on bleeding to death, flourishes its uplifted tail furiously in all directions in vain.' It is well known that the Berlin critics condemned, in very strong language, Mozart's Don Giovanni when it was first performed.