David, just fantastic interview: why? because you answered every damn question head on, truthfully and with integrity. This is far from normal in today's world, and sets you wide apart. I learn masses and masses from you... it takes ages to assimilate. I was riveted to the screen, and bowled over by your honesty. Your last comment ... sans pareil as they say in France.... "don't worry about not being the brightest person in the room - because I am" And let me confirm, you are.
Absolutely agree, music exists for us to enjoy, to be entertained. It’s total b.s. that so-called “classical” composers are only for the elites, the music snobs who think they are above the average person. I was so lucky to be brought up with hearing works by Beethoven, Brahms, Dvorak, Tchaikovsky etc. etc. and developed my taste and knowledge as I grew up. Now as an adult I cannot imagine being without this music and feel so privileged that I was given the opportunity to know one of life’s greatest pleasures.
My first conscious awareness and attraction to classical was Prokofiev's Troika. I was eight years old and we had just bought our first stereo system at a new thing called a shopping mall. (Ours was an historic mall and praised by the Canadian journalist and promoter of urban studies, Jane Jacobs. Alas it was completely demolished a few years ago. Thanks Amazon ...) Our stereo was one of those compact "suitcase" model with a turntable/speaker and second lid or cover and speaker. The Prokofiev piece was on a free LP record that sampled various kinds of music including a song called Rag Mop ("Ragg mopp ragmop!") But I also believe that for me film soundtracks played a role as they did with 50s/early 60s jazz. Now I have more cd box sets than I may live to hear completely? Mr. Hurwitz has placyed a significant role in this. He's a genius at what he does. Thank you sir.
"Like what you like and dislike what you dislike ". Fine, but I would add , if you dislike something on first hearing , give it a chance . With repeated hearings you might find you do like it .
I was also really turned on to classical music by William Steinberg and the Pittsburgh S.O., Rachmaninov's 2nd. Symphony. I listened again recently to this 50's recording and it still stands up well.
The three Max Bruch symphonies have been making something of a comeback, at least on CD - and they're very much worth hearing . No reason why more conductors should not perform and record them .
Mr. HURWITZ is a patient and generous guest. He clearly answered murky questions, or when a question was especially , well, dumb, he pivoted to something interesting. That's a pro.
@@FedorovaTakser no offense, the dumb ones came from others. Was thinking of the "desert island" question which Hurwitz piVoted to a more interesting subject. I must check into McCarras.
@@jefolson6989 :) David is the Master, indeed. I totally agree with your statement about his professionalism. Did you have a chance to watch our recent conversations with A. Pompa-Baldi (pianist) and R. Atkinson (forensic pathologist/composer) ? Very interesting personages.
00:00интро 00:40 Что такое музыкальная критика? What is music criticism? 2:35 Как Д.Г. пришел в классическую музыку? How did D.H. get to classical music? 10:40 Краткая история музыкальной критики. A brief history of music criticism 15:45 Как стать музыкальным критиком? What it takes to become a music critic? 21:25 История Д.Гурвица. How D.H. became a music critic? 22:40 Рутина музыкального критика. Процесс написания статьи. How the routine of a music critic looks like? Making a review: process 29:30 - Вопрос от подписчика: сколько записей в день слушает Д.Г.. Насколько заранее он решает на кого будет написана рецензия? Questions from a subscriber: How many recordings D.H. is listening to per day? And how far in advance he decides which one he's going to profile? 33:09 Аккустическая система для прослушивания. Acoustic system preferences 34:19 Все о звукоинженерии. All about sound engineering 39:50 Может ли Д.Г. узнать дирижера/исполнителя/музыкальный лейбл по звуку? Can D.H. recognize a conductor/performer/label by a sound? 45:15 Музыкальные лейблы сегодня богаче, чем раньше? Are classical music labels today wealthier than before? 49:40 Ходит ли Д.Г. на концерты? с нотами? Does D.H. go to concerts? Does he carry music scores with him? 51:52 Проблемы музыкальной критики сегодня. What is the main problem of modern criticism? 55:33 История с Amazon (a story from D.H.) 58:35 Вопрос от подписчика: Что должен сделать молодой музыкант, чтобы привлечь внимание критика? A questions from a subscriber: What young composer/performer should do to attract some attention from a music critic? 59:45 Что повышает ваши шансы получить рецензию? Правильное обращение. What could increase your chances of getting review? Proper way of communication. 1:02:10 Does D.H. believes that the era of music written in galant style is over? 1:04:00 Д.Г. об истории музыки. D.H. about history of music 1:05:30 Почему темповые обозначения Бетховена не актуальны и не должны быть использованы. Why Beethoven's metronome marks are irrelevant and shouldn't be used? 1:07:50 - Как далеко мы ушли от истинных идей копозиторов? How far did we get from the original desires of composers of the past? 1:09:55 Об "аутентизме" современных барочных ансамблей. (18+)DH. about "authentism" of modern Baroque ensembles (18+) 1:11:05 Легендарные музкальные критики. Legendary music critics 1:13:30 Критика потеряла свою силу? Did critics lose it's power? 1:14:35 Оплаченные рецензии. Как это влияет на репутацию музыкальной критики в целом? Engaged critics and paid reviews. How it impacts the reputation of music criticism? 1:16:02 Почему Д.Г. предпочитает CD в коробках а не электронные версии? Why D.H. prefers CDs in "boxes" over digital copies? 1:17:20 - Сколько дисков на полке Д.Г. ? How many CDs on D.H. shelves? 1:18:30 Слушает ли Д.Г. музыку на TH-cam? Как он развивает свой YT канад. Does D.H. listening to music on TH-cam? And how he is developing his YT channel. 1:21:20 www.classicstoday.com. С чего все началось? How all started 1:24:33 Бизнес идея для Д.Г. (отклонена). A business idea for D.H. (strictly rejected) 1:29:35 Рекомендации Д.Г. людям, пока не разбирающимся в классической музыке. Recommendations from D.H. to people that aren't into classical music yet. 1:29:57 Блиц. A brief quiz (silly questions) 1:30:45 Запись, которую Д.Г. взял бы на необитаемый остров. A recording to take on a desert island 1:32:25 Что Д.Г. думает о старинных инструментах. what D.H. thinks of period instruments 1:35:27 Что бы Д.Г. поменял в музыкальной индустрии. If you could change one thing in the music industry, what that would be? 1:37:40 Сообщение от Д.Г. A message from D.H. 1:39:40 Бонус. bonus
This is a great interview...thanks Dave for your insights...they are great guidelines to the new and the old classical music people...keep on going...and yes, they are addictive...ha ha...GV
Am a classical-Music-Opera etc etc collector over many tears, and always have looked for reviews and reviewers who knew their business-so I can get the cream of the crop-not cr-p. There is so much out there to go through and pick from and much is trash and much good. Mr Hurwitz thoroughly knows what he is doing. Evaluations are fantastic-and right on. Encylopedic. Thank you so much. Fantastic interview.
Brilliant interview, thank you. When asked about other critics David mentioned GB Shaw and DF Tovey but I wondered what views on Neville Cardus, great writer on both music and cricket?
Dear Sergey, thank you for your comment! We really glad to hear, you liked it! Missing your live performances from the Conservatory's Halls 😊 Take care! I&D
The first classical music I heard and was curious about was also the "Pastoral" by Beethoven! A lovely Italian neighbour presented it to me on my Barmitzvah, so I was older than 5.
Interesting interview . I agree with some things Dave says and disagree with others , I think classical music is more than mere entertainment , although some of the easier popular works the general public knows are . Orchestras don't sound alike today - there have been changes in the way they sound over the years, but no international sameness . Many of today's younger musicians ARE highly individualistic . The repertoire is actually more diverse an interesting today than ever before , despite the lasting popularity of the "canon ".
He talks no sense about the definition of music, art, and proves his stupidity by saying that classical music expresses very basic emotions only. He has a very partial knowledge, by being focused on a huge quantity of same things.
I disagree slightly with David's opening stance here. Middle-period Beethoven, for instance, has incredible power beyond entertainment, and, probably had so back then. I know that, because 5 and 6 both rescued me on several occasions, in different directions. 5, (Szell, Cleveland) whenever confidence was what I needed, and, 6, (Swarovsky, European Community S.O. (!) )when I needed peace. I think, entertainment is something classical music often sets up, rather than being, all along. Tchaikovsky 4 is not entertainment, but must be entertaining, so, I don't think we're disagreeing, here. Mahler 2, (Rattle, CBSO), is not 'entertaining,' retaining a pedestrian rhythm which makes a psychedelic montage of the piece, but, its restorative power worked just fine for me, when I got to know it - not only restorative, but, emotionally-redemptive, in a way that transcended entertainment, in my early 20s. Mahler 4, (Szell, Cleveland) as Dave brilliantly points out elsewhere, is so heavy it seems to bring too much gravitas for the finale quite to bear. Szell's Mahler 6 was therapy for me. As I update this, Dave has got to the part where he talks of GB Shaw, and how criticism transcends entertainment to depict experience. So, we are in agreement. Otherwise, as usual, a fantastic speaker giving a fantastic interview.
Lots of interest and entertainment, one particular 'amen' point: Today's concert programmes. I, too, seldom attend concerts these days, they've become so dumbed-down there's no point. The most often quoted reason is the need to generate and retain a subscription base. I'd counter saying in doing so, they've lost a traditional section of their audience, those who bought tickets for the prospect of hearing something new, a work or an artist they'd never heard, or never heard live. Secondly, a point of information. I always wondered why Karajan's later recordings generally sounded so poor in comparison to some of those classics of the mid-60s into the early 70s, in particular why the high mid-range was so shrill. Now I know.
Seeing music as just entertainment means you are missing a lot of points. Music makes you feel you are not alone even if you are, It gives you meaning and elevates you to a level beyond yourself. It can be just entertainment , especially most pop music, but it can be a hell of a lot more. Pity since you spend so much time listening to it.
Thank you for finding time to listen to the conversation and leaving a comment. I don't know why David's words about "entertainment" triggered and "harmed" so many people. I prefer to believe that the term "entertainment" here doesn't have any negative context.
David is right about the way period instruments tend to be played and sound. Especially strings tend to sound harsh when played legato only. Still for composers up to Schumann I still prefer periode instrument performances over traditional ones, and mainly because I feel a smaller ensemble is better suited for this type of music. Traditional orchestras however lean and quick it is played still sound too massive and sluggish to my ears.
I looked into that Beverly Jerold book. First, it’s hilarious that some musicologists/musicians are still unwilling to bite the bullet on Beethoven’s metronome marks. The lengths they go to dismiss them through ridiculous conjectures and mental gymnastics is mind-boggling. One of the statements she makes in that book is that Maelzel - like an evil mage of some sort - manipulated/brainwashed a weak-minded Beethoven who would have surely refused Maelzel if he weren’t deaf but under these circumstances; he had no choice but to comply… I wish I were making this up. She also argues that most musicians of Beethoven’s time weren’t skilled enough to play it at that tempo, therefore they’re invalid… That’s like saying professional orchestras shouldn’t play music of Beethoven’s time because they didn’t exist back then.
Much of the classical repertoire is so much more than entertainment. But that does not exclude entertainment, pleasure, enjoyment, is a very important element of the music. This seem to me to be an American way of approaching the art form.
No, it is an unsentimental/less critically enervating one. Composers may have written from profound thinking and intended deep intellectual motives, but they wrote to be PERFORMED. As such, that is entertainment. Seen that way, only literature is not always exclusively out for what you consider to be a lesser world of entertainment. But your view seem a very British/European approach to art. I would never dare say pretentious...
@@bloodgrss 'Performance' does not mean 'entertainment'. Does a RC priest entertain at the eucharist? Or a surgeon when he is performing an operation? It's like saying: a woman is for sex and all the other things are non-essential extras.
@@JohnBorstlap Well, to begin with, shall I be cheeky enough to say a RC priest IS performing when doing the Eucharist; yes, I am. The 'entertainment' value will clearly depend on your spiritual interest of the moment, and how by-the-numbers intoning he does it, but it IS there. The rest of your points are just irrelevant and silly. But it would be interesting, and might add the laughter of nations, if you could try to explain how a composition created to be performed in a concert situation is like removing a wart, let alone what sex has to do with anything within our 'discussion'. But I leave any performance or entertainment issues you may have over sex to you. My statement stands un-assailed, and you, John, become more incomprehensible and pompous...
While I agree with many things David said, I do disagree that Classical music is “simpler” than other genres and is "not sophisticated". Or at least the way he described it. Yes, it has the ability to resonate easily with people of any age, and can elicit direct emotional responses, from joy to sorrow. However, Classical music’s underlying structure is indeed the most complex of any musical genre, in many cases. And perhaps deceivingly so, because it is exactly due to its complexity (and ability to create a multitude of sounds from a large variety of instruments), that make its communication of feelings so much more effective and broader than other genres. Moreover, the various tasks Classical composers have requires a great deal of skill and talent, which should never fall under the category of being called “simpler.” If David meant simple, only in regards to enjoying the music, that might be true for casual listeners, but seasoned listeners generally analyze the music after a first impression in great detail. They study why a composer used a particular instrument here or there, or how they created such a mournful melody or joyful one with a unique progression of notes, or made a transition here, or should have used one there etc. And examining the structure of a symphony or piano concerto in great detail, for example, is not simple, it too requires effort and some degree of fine-tuned skills from the listener. And I do look at Classical music as being more than just “entertainment,” even if many only view it that way, like David. For me, it spotlights the ultimate talents of those who strive to create such wonders as Beethoven’s “3rd Symphony,” Dvorak’s “9th Symphony,” or Sibelius’ “5th Symphony” and stand as artistic monuments to human effort and achievement. And such sublime works of art deserve high acclaim and even reverence. Granted, some Classical music was meant to be more trivial in nature, but in regard to the major works, they deserve not only our respect, but the efforts of all of us to keep this music alive at all costs, for our generation and all future generations. Because the world of Classical music lovers is very small, and dwindles with each succeeding generation. And it would be a tremendous lose to humanity if it became buried under the mountains of media and data that's already cluttering the globe.
One would think that someone as talented, witty, educated, knowledgeable as David Hurwitz would NOT need to shadow-ban viewers who disagree with whom or who have different opinions and views, but the does. Very sad. Totalitarianism is alive and well even in the real of music criticism.
"Proud" probably is not the right word. I feel happy that now lots of people can learn more about David Hurwitz, in addition to his wonderful content. Thank you for watching.
This guy's a very great critic. He totally gets--and can lucidly articulate--the distinction between personal opinion and describing the music and the actual performance. Brilliant.
With respect, he is obviously a crass vulgarian (check out, for example, his view of Lieder). When I witness the almost complete lack of insight into basic things on YT (where everything is brilliant), I despair. What has happened to our minds!?
@@puk4763 Hello and thanks for your comment. Being a professional musician, who is working with many talented eccentric people on and off stage I've learnt one thing: to split personal and professional. I have many examples when a great artist appeared as not of the best (to my opinion) person. However, when you look at the contribution it tells you everything. I might be disagree with some of David's statements or expressions, however I find his work very important and admire his passion for music and thank him for sharing it with us. You can be a smartest guy in the world, but if your contribution equals zero, then what's the point?.. Didn't want be an advocate here, David doesn't need it. But I believe that people like David or myself, with all of our imperfections needed for the industry. Someone might watch it and think: "hm... too rude." or "such a shitty interviewer, I can do better" and WILL DO BETTER. So, I don't mind to be a part of this evolution. Once again, thanks for watching.
@@FedorovaTakser Tbh, that is a reply which doesn't in any way address what I actually wrote (sadly reinforcing my point). There is far too much mediocrity and vapid hero worship on YT. D Hurwitz sees music criticism to be a form of entertainment. I rest my case.
@@puk4763 sorry for misunderstanding, I probably looked at your message through a wrong prism... May I ask you a question? Do you like anything what David is doing on his channel? Or because of his opinion that "music is entertainment" you deny his work? Interesting, that people often are getting offended (or feeling upset) by this particular words... Sorry if I said something wrong, didn't mean to offend you at all!
Great interview! I could not disagree more about the period performance movement, however. That’s an argument Hurwitz has soundly lost by a consensus of classical music listeners.
I’m not dogmatically committed to it, I just really like the sound of period instruments for music before about 1850. I once heard the Academy of Ancient Music under Hogwood two nights in a row, doing all-Mozart concerts with Robert Levin playing the concertos on fortepiano. The first night was at Chicago Symphony Hall and you could barely hear them. People were walking out. But the next night, at the Krannert Center at the U of Illinois, was the best live performance of classical music I’ve ever heard. The music makes a lot more sense to me on the original instruments. On modern instruments capable of Bartók and Stravinsky, they have to hold back for Mozart to keep it from sounding like Tchaikovsky. On period instruments they play it for everything they’re worth. So much energy in it.
After Beethoven the line starts to blur. I’m sympathetic to your claim that there’s never been a satisfying Beethoven Ninth by a period orchestra. I think Beethoven was trying to imagine an orchestra that came into being later with that piece. What the period bands try to show in their performances of it is exactly that.
Beethoven’s negative comments about metronome markings is something attributed to him by Schindler, who also said that Beethoven wrote markings for only the 9th symphony. Beethoven himself wrote a letter praising the metronome and wrote marking for a great many works and his contemporaries did the same things. Hurwitz knows very little of the work done by the great William Malloch - a great great man I was never privileged to know.
After Beethoven the line starts to blur. I’m sympathetic to your claim that there’s never been a satisfying Beethoven Ninth by a period orchestra. I think Beethoven was trying to imagine an orchestra that came into being later with that piece. What the period bands try to show in their performances of it is exactly that.
The Norrington Beethoven 9 is interesting as a curiosity. Beethoven would have been at the forefront of new technology, and superior instruments. I believe he would have used electronic instruments, synthesizers, theremin, midi, computers. He used what he had, and would have used anything that helped him express his ideas. Now that Ive heard what he might have heard, I go back to the music, as played by modern orchestras. Period instrument performances have little effect on how I hear the music.
1:26:30 This basically shows how desperate people are to get their foot in the door. David knows that making that a possibility will further contribute to the death of classical music. Good on him for vehemently refusing. Nothing is going to change the fact that you aren't Kissin. It's the brutal reality of the industry.
Upon relistening to this ironic section today, I understand that one might find it ridiculous, especially the first half. However, if you look closer, you get the point: To continue evolving in terms of quality (not just popularity), the classical music industry needs more communication across different strata at all levels: young musicians, critics, music producers, sound engineers, concert organizers, etc. I was talking about the opportunity for evaluations, not PR. Yes, I naively believe that if younger generations of musicians had access to top-level specialists like Mr. Hurwitz, while studying, it would make our musical world better. However, I totally understand and respect that Mr. Hurwitz may not be interested or excited to educate young performers, just as some big-name performers avoid teaching activities. He already makes a huge contribution through his TH-cam channel, for which I'm very grateful. I just expressed my dream. That's it. If you allow me, I'll leave your reference to Kissin without comment. Best regards, Ilya
@@FedorovaTakser "To continue evolving in terms of quality (not just popularity), the classical music industry needs more communication across different strata at all levels: young musicians, critics, music producers, sound engineers, concert organizers, etc."
I stopped listening after the first minute, when classical music - whatever its nature - is deemed 'mere entertainment'. Probably an American issue? There is much music which is indeed entertainment and which perfectly fits Mr Hurwitz' description and function, psychological and social (pop, hiphop, folk, jazz, flamenco, etc. etc.). But when, let's say, classical music as an art form, is considered mere entertainment, the whole reason for its existence is missed. It is like saying that painting is mere decoration, whatever it is: Vermeer, Titian, the impressionists, all of those works could as well be replaced by decorative wallpaper. So, it is simply not true, a whole dimension - psychological, cultural, historical, spiritual - is then being ignored.
Silly and unintelligent comment. Stay in the church; though even there, music was 'entertainment' which the powers that be thought would create a sensation of awe and spirituality in the worshipers...
@@bloodgrss Ignorant comment. Typical of these times: the sense of meaning of cultural artefacts eroding. The reference to religious music very confused.
@@JohnBorstlap Ignorant and typically arrogant comeback from a rage-filled man. Your whole rant above is confused; 'mere entertainment'? Seems in your pretentious world we must bow and worship at great art rather than somehow simply marvel and enjoy it. To be 'entertained by it. You are typical of these times (an Englishman's perspective?); a lament for a rose-colored past that has nothing really that intelligent to say, just whining bile and angry irrelevancy posturing as critical thought. Nothing to do with this whole video, which even you admit (in your silly pomposity) you did not listen to! Yet have the gall to dismiss in text! How's that for ultimate critical ignorance...
He talks no sense about the definition of music, art, and proves his stupidity by saying that classical music expresses very basic emotions only. He has a very partial knowledge, by being focused on a huge quantity of same things. First of all: different musical art works were made according to different views of music, and many of them were certainly NOT about basic emotions or entertainment. Also the concept of entertainment needs many footnotes, principally when talking to today´s audience
![30 ชั่วโมงคนเดียว บนรถไฟชั้น 3 โซเวียต [Around The World Ep. 2]](http://i.ytimg.com/vi/MlE9boAVqDA/mqdefault.jpg)
David, just fantastic interview: why? because you answered every damn question head on, truthfully and with integrity. This is far from normal in today's world, and sets you wide apart. I learn masses and masses from you... it takes ages to assimilate. I was riveted to the screen, and bowled over by your honesty. Your last comment ... sans pareil as they say in France.... "don't worry about not being the brightest person in the room - because I am" And let me confirm, you are.
Exactly!
Absolutely agree, music exists for us to enjoy, to be entertained. It’s total b.s. that so-called “classical” composers are only for the elites, the music snobs who think they are above the average person. I was so lucky to be brought up with hearing works by Beethoven, Brahms, Dvorak, Tchaikovsky etc. etc. and developed my taste and knowledge as I grew up. Now as an adult I cannot imagine being without this music and feel so privileged that I was given the opportunity to know one of life’s greatest pleasures.
he is the funniest, smartest, down to earth music critic, and his cat is a star! His videos are addictive 😋
My first conscious awareness and attraction to classical was Prokofiev's Troika. I was eight years old and we had just bought our first stereo system at a new thing called a shopping mall. (Ours was an historic mall and praised by the Canadian journalist and promoter of urban studies, Jane Jacobs. Alas it was completely demolished a few years ago. Thanks Amazon ...) Our stereo was one of those compact "suitcase" model with a turntable/speaker and second lid or cover and speaker. The Prokofiev piece was on a free LP record that sampled various kinds of music including a song called Rag Mop ("Ragg mopp ragmop!") But I also believe that for me film soundtracks played a role as they did with 50s/early 60s jazz. Now I have more cd box sets than I may live to hear completely? Mr. Hurwitz has placyed a significant role in this. He's a genius at what he does. Thank you sir.
You don’t have to „know“ to enjoy classical music, but knowing about it and it’s context, enhances its appreciation and pleasure. Personal note.
What a great interview, thank you for good questions and letting Mr. Hurwitz do his entertainment
Many thanks for your kind words! Happy to hear you enjoyed the conversation (so I did) ! :)
Wonderful interview, and thank you and Dave for making it!
It's truly inspiring that a completely deaf person like David Hurwitz can be classical music critic.
"Like what you like and dislike what you dislike ". Fine, but I would add , if you dislike something on first hearing , give it a chance . With repeated hearings you might find you do like it .
I was also really turned on to classical music by William Steinberg and the Pittsburgh S.O., Rachmaninov's 2nd. Symphony. I listened again recently to this 50's recording and it still stands up well.
Very entertaining. Thanks for interviewing David Hurwitz, a critic worth listening to.
Thank you very much, glad to hear you liked it! 🙂
The three Max Bruch symphonies have been making something of a comeback, at least on CD - and they're very much worth hearing . No reason why more conductors should not perform and record them .
Dave!!!! this was great , thanks for this guys!
"I would get rid of the crisis mentality.." Yes, this is a fabulous interview
Mr. HURWITZ is a patient and generous guest. He clearly answered murky questions, or when a question was especially , well, dumb, he pivoted to something interesting. That's a pro.
"Dumb" questions are my primary specialization, as it reveals the best qualities of my guests and commenters. Thanks for watching.
@@FedorovaTakser no offense, the dumb ones came from others. Was thinking of the "desert island" question which Hurwitz piVoted to a more interesting subject. I must check into McCarras.
@@jefolson6989 :) David is the Master, indeed. I totally agree with your statement about his professionalism. Did you have a chance to watch our recent conversations with A. Pompa-Baldi (pianist) and R. Atkinson (forensic pathologist/composer) ? Very interesting personages.
There have been no dummy questions
Big, big thanks, Dave, for sharing your sincere and profound/practical thoughts. I must come back to this interview again and let friends know about this talk.
00:00интро
00:40 Что такое музыкальная критика? What is music criticism?
2:35 Как Д.Г. пришел в классическую музыку? How did D.H. get to classical music?
10:40 Краткая история музыкальной критики. A brief history of music criticism
15:45 Как стать музыкальным критиком? What it takes to become a music critic?
21:25 История Д.Гурвица. How D.H. became a music critic?
22:40 Рутина музыкального критика. Процесс написания статьи. How the routine of a music critic looks like? Making a review: process
29:30 - Вопрос от подписчика: сколько записей в день слушает Д.Г.. Насколько заранее он решает на кого будет написана рецензия?
Questions from a subscriber:
How many recordings D.H. is listening to per day? And how far in advance he decides which one he's going to profile?
33:09 Аккустическая система для прослушивания. Acoustic system preferences
34:19 Все о звукоинженерии. All about sound engineering
39:50 Может ли Д.Г. узнать дирижера/исполнителя/музыкальный лейбл по звуку? Can D.H. recognize a conductor/performer/label by a sound?
45:15 Музыкальные лейблы сегодня богаче, чем раньше? Are classical music labels today wealthier than before?
49:40 Ходит ли Д.Г. на концерты? с нотами? Does D.H. go to concerts? Does he carry music scores with him?
51:52 Проблемы музыкальной критики сегодня. What is the main problem of modern criticism?
55:33 История с Amazon (a story from D.H.)
58:35 Вопрос от подписчика: Что должен сделать молодой музыкант, чтобы привлечь внимание критика? A questions from a subscriber:
What young composer/performer should do to attract some attention from a music critic?
59:45 Что повышает ваши шансы получить рецензию? Правильное обращение. What could increase your chances of getting review? Proper way of communication.
1:02:10 Does D.H. believes that the era of music written in galant style is over?
1:04:00 Д.Г. об истории музыки. D.H. about history of music
1:05:30 Почему темповые обозначения Бетховена не актуальны и не должны быть использованы. Why Beethoven's metronome marks are irrelevant and shouldn't be used?
1:07:50 - Как далеко мы ушли от истинных идей копозиторов? How far did we get from the original desires of composers of the past?
1:09:55 Об "аутентизме" современных барочных ансамблей. (18+)DH. about "authentism" of modern Baroque ensembles (18+)
1:11:05 Легендарные музкальные критики. Legendary music critics
1:13:30 Критика потеряла свою силу? Did critics lose it's power?
1:14:35 Оплаченные рецензии. Как это влияет на репутацию музыкальной критики в целом? Engaged critics and paid reviews. How it impacts the reputation of music criticism?
1:16:02 Почему Д.Г. предпочитает CD в коробках а не электронные версии? Why D.H. prefers CDs in "boxes" over digital copies?
1:17:20 - Сколько дисков на полке Д.Г. ? How many CDs on D.H. shelves?
1:18:30 Слушает ли Д.Г. музыку на TH-cam? Как он развивает свой YT канад. Does D.H. listening to music on TH-cam? And how he is developing his YT channel.
1:21:20 www.classicstoday.com. С чего все началось? How all started
1:24:33 Бизнес идея для Д.Г. (отклонена). A business idea for D.H. (strictly rejected)
1:29:35 Рекомендации Д.Г. людям, пока не разбирающимся в классической музыке. Recommendations from D.H. to people that aren't into classical music yet.
1:29:57 Блиц. A brief quiz (silly questions)
1:30:45 Запись, которую Д.Г. взял бы на необитаемый остров. A recording to take on a desert island
1:32:25 Что Д.Г. думает о старинных инструментах. what D.H. thinks of period instruments
1:35:27 Что бы Д.Г. поменял в музыкальной индустрии. If you could change one thing in the music industry, what that would be?
1:37:40 Сообщение от Д.Г. A message from D.H.
1:39:40 Бонус. bonus
It's completely awe-inspiring that someone who is completely deaf, like David Hurwitz, can be considered a classical music critic.
Wonderful interview, well done! I do not agree with everything Mr. Hurwitz says, but what a clever and funny man.
Many thanks for watching 😊
Thanks for choosing Australia's Mackerras mate! His Mastersingers in Sydney 1988 was fantastic.
Excellent interview! Came here from Dave‘s channel and it‘s great to be able to hear more about his background.
It's completely awe-inspiring that some who is completely deaf, like David Hurwitz, can be considered a classical music critic.
Eh?
@@juangregory You didn't know? David Hurwitz is completely deaf. How else can you explain his hatred of Carlos Kleiber?
@@rodneyboehner3007 Carrrrlos Kleibbber. Wasn't that the charlatan that wanted an Audi car for payment?
EXCELLENT ! Thank You for bringing this interview to UTube - What a pleasure listening to Mr. Hurwitz
Many thanks for your comment and kind words! I also really enjoyed our conversation!
@@FedorovaTakser Yes - The MAN has an 'Eloquent Cheerfulness' about him that is hard to resist. :)
Great interview! Worth rehearing. A lot to absorb.
This is a great interview...thanks Dave for your insights...they are great guidelines to the new and the old classical music people...keep on going...and yes, they are addictive...ha ha...GV
Am a classical-Music-Opera etc etc collector over many tears, and always have looked for reviews and reviewers who knew their business-so I can get the cream of the crop-not cr-p. There is so much out there to go through and pick from and much is trash and much good. Mr Hurwitz thoroughly knows what he is doing. Evaluations are fantastic-and right on. Encylopedic. Thank you so much. Fantastic interview.
Many thanks for your kind comment! Glad you liked it👍
Brilliant interview, thank you. When asked about other critics David mentioned GB Shaw and DF Tovey but I wondered what views on Neville Cardus, great writer on both music and cricket?
Thank you for interesting insights! Very rewarding 100 minutes.
Dear Sergey, thank you for your comment! We really glad to hear, you liked it!
Missing your live performances from the Conservatory's Halls 😊
Take care!
I&D
@@FedorovaTakser Hehe, thank you! All the best! :-)
Great interview!
The first classical music I heard and was curious about was also the "Pastoral" by Beethoven! A lovely Italian neighbour presented it to me on my Barmitzvah, so I was older than 5.
Love the copy of Medtner's skazki on the piano!
How a pianist can live without Medtner? 😉
@@FedorovaTakser Don't I know it! ;-)
Thanks!
Many thanks for watching and your support 🙏🏻
It is reality unbelievable that a serious music crític considers music "just an entertainment".
Interesting interview . I agree with some things Dave says and disagree with others , I think classical music is more than mere entertainment , although some of the easier popular works the general public knows are . Orchestras don't sound alike today - there have been changes in the way they sound over the years, but no international sameness . Many of today's younger musicians ARE highly individualistic . The repertoire is actually more diverse an interesting today than ever before , despite the lasting popularity of the "canon ".
What an excellent question and even more so response by David on what music criticism is! 👍👍
classical arts are not 'entertainment'. i believe in lifting the masses up to great art, not stooping down to their level.
Really, are you that far removed from reality?
CVArts, I agree.
He talks no sense about the definition of music, art, and proves his stupidity by saying that classical music expresses very basic emotions only. He has a very partial knowledge, by being focused on a huge quantity of same things.
I love your little cat, David, amongst so much else on your channel, of course!
My very first Classical LP was also Beethoven 6th symphony...Sir Adrian Boult/LPO
Great video 👍
I'd have been interested to know what David listens to his music on.
I disagree slightly with David's opening stance here. Middle-period Beethoven, for instance, has incredible power beyond entertainment, and, probably had so back then. I know that, because 5 and 6 both rescued me on several occasions, in different directions. 5, (Szell, Cleveland) whenever confidence was what I needed, and, 6, (Swarovsky, European Community S.O. (!) )when I needed peace. I think, entertainment is something classical music often sets up, rather than being, all along.
Tchaikovsky 4 is not entertainment, but must be entertaining, so, I don't think we're disagreeing, here. Mahler 2, (Rattle, CBSO), is not 'entertaining,' retaining a pedestrian rhythm which makes a psychedelic montage of the piece, but, its restorative power worked just fine for me, when I got to know it - not only restorative, but, emotionally-redemptive, in a way that transcended entertainment, in my early 20s. Mahler 4, (Szell, Cleveland) as Dave brilliantly points out elsewhere, is so heavy it seems to bring too much gravitas for the finale quite to bear. Szell's Mahler 6 was therapy for me.
As I update this, Dave has got to the part where he talks of GB Shaw, and how criticism transcends entertainment to depict experience. So, we are in agreement. Otherwise, as usual, a fantastic speaker giving a fantastic interview.
Many thanks for watching and leaving the comment 🙏🏻
Lots of interest and entertainment, one particular 'amen' point:
Today's concert programmes. I, too, seldom attend concerts these days, they've become so dumbed-down there's no point. The most often quoted reason is the need to generate and retain a subscription base. I'd counter saying in doing so, they've lost a traditional section of their audience, those who bought tickets for the prospect of hearing something new, a work or an artist they'd never heard, or never heard live.
Secondly, a point of information. I always wondered why Karajan's later recordings generally sounded so poor in comparison to some of those classics of the mid-60s into the early 70s, in particular why the high mid-range was so shrill. Now I know.
Thank you for your comment 🙏
Seeing music as just entertainment means you are missing a lot of points. Music makes you feel you are not alone even if you are, It gives you meaning and elevates you to a level beyond yourself. It can be just entertainment , especially most pop music, but it can be a hell of a lot more. Pity since you spend so much time listening to it.
Thank you for finding time to listen to the conversation and leaving a comment.
I don't know why David's words about "entertainment" triggered and "harmed" so many people.
I prefer to believe that the term "entertainment" here doesn't have any negative context.
David is right about the way period instruments tend to be played and sound. Especially strings tend to sound harsh when played legato only. Still for composers up to Schumann I still prefer periode instrument performances over traditional ones, and mainly because I feel a smaller ensemble is better suited for this type of music. Traditional orchestras however lean and quick it is played still sound too massive and sluggish to my ears.
This puts so much of the Diavd Hurwitz TH-cam Channel as well as his reviews/chats/writings so much more in context.
Very happy to hear that you liked it! Thank you for being with us! :)
I looked into that Beverly Jerold book. First, it’s hilarious that some musicologists/musicians are still unwilling to bite the bullet on Beethoven’s metronome marks. The lengths
they go to dismiss them through ridiculous conjectures and mental gymnastics is mind-boggling. One of the statements she makes in that book is that Maelzel - like an evil mage of some sort - manipulated/brainwashed a weak-minded Beethoven who would have surely refused Maelzel if he weren’t deaf but under these circumstances; he had no choice but to comply… I wish I were making this up. She also argues that most musicians of Beethoven’s time weren’t skilled enough to play it at that tempo, therefore they’re invalid… That’s like saying professional orchestras shouldn’t play music of Beethoven’s time because they didn’t exist back then.
Much of the classical repertoire is so much more than entertainment. But that does not exclude entertainment, pleasure, enjoyment, is a very important element of the music. This seem to me to be an American way of approaching the art form.
No, it is an unsentimental/less critically enervating one. Composers may have written from profound thinking and intended deep intellectual motives, but they wrote to be PERFORMED. As such, that is entertainment. Seen that way, only literature is not always exclusively out for what you consider to be a lesser world of entertainment. But your view seem a very British/European approach to art. I would never dare say pretentious...
@@bloodgrss 'Performance' does not mean 'entertainment'. Does a RC priest entertain at the eucharist? Or a surgeon when he is performing an operation? It's like saying: a woman is for sex and all the other things are non-essential extras.
@@JohnBorstlap Well, to begin with, shall I be cheeky enough to say a RC priest IS performing when doing the Eucharist; yes, I am. The 'entertainment' value will clearly depend on your spiritual interest of the moment, and how by-the-numbers intoning he does it, but it IS there. The rest of your points are just irrelevant and silly. But it would be interesting, and might add the laughter of nations, if you could try to explain how a composition created to be performed in a concert situation is like removing a wart, let alone what sex has to do with anything within our 'discussion'. But I leave any performance or entertainment issues you may have over sex to you. My statement stands un-assailed, and you, John, become more incomprehensible and pompous...
While I agree with many things David said, I do disagree that Classical music is “simpler” than other genres and is "not sophisticated". Or at least the way he described it. Yes, it has the ability to resonate easily with people of any age, and can elicit direct emotional responses, from joy to sorrow.
However, Classical music’s underlying structure is indeed the most complex of any musical genre, in many cases. And perhaps deceivingly so, because it is exactly due to its complexity (and ability to create a multitude of sounds from a large variety of instruments), that make its communication of feelings so much more effective and broader than other genres. Moreover, the various tasks Classical composers have requires a great deal of skill and talent, which should never fall under the category of being called “simpler.”
If David meant simple, only in regards to enjoying the music, that might be true for casual listeners, but seasoned listeners generally analyze the music after a first impression in great detail. They study why a composer used a particular instrument here or there, or how they created such a mournful melody or joyful one with a unique progression of notes, or made a transition here, or should have used one there etc. And examining the structure of a symphony or piano concerto in great detail, for example, is not simple, it too requires effort and some degree of fine-tuned skills from the listener.
And I do look at Classical music as being more than just “entertainment,” even if many only view it that way, like David. For me, it spotlights the ultimate talents of those who strive to create such wonders as Beethoven’s “3rd Symphony,” Dvorak’s “9th Symphony,” or Sibelius’ “5th Symphony” and stand as artistic monuments to human effort and achievement. And such sublime works of art deserve high acclaim and even reverence. Granted, some Classical music was meant to be more trivial in nature, but in regard to the major works, they deserve not only our respect, but the efforts of all of us to keep this music alive at all costs, for our generation and all future generations. Because the world of Classical music lovers is very small, and dwindles with each succeeding generation. And it would be a tremendous lose to humanity if it became buried under the mountains of media and data that's already cluttering the globe.
One would think that someone as talented, witty, educated, knowledgeable as David Hurwitz would NOT need to shadow-ban viewers who disagree with whom or who have different opinions and views, but the does. Very sad. Totalitarianism is alive and well even in the real of music criticism.
Big fish! You should be very proud...
"Proud" probably is not the right word. I feel happy that now lots of people can learn more about David Hurwitz, in addition to his wonderful content.
Thank you for watching.
Looks like there’s about 10000 of us, but I won’t say happy guys have cats and massive multi room cd collection s (but I won’t deny it.)
This guy's a very great critic. He totally gets--and can lucidly articulate--the distinction between personal opinion and describing the music and the actual performance. Brilliant.
With respect, he is obviously a crass vulgarian (check out, for example, his view of Lieder). When I witness the almost complete lack of insight into basic things on YT (where everything is brilliant), I despair. What has happened to our minds!?
@@puk4763 Hello and thanks for your comment. Being a professional musician, who is working with many talented eccentric people on and off stage I've learnt one thing: to split personal and professional. I have many examples when a great artist appeared as not of the best (to my opinion) person. However, when you look at the contribution it tells you everything. I might be disagree with some of David's statements or expressions, however I find his work very important and admire his passion for music and thank him for sharing it with us.
You can be a smartest guy in the world, but if your contribution equals zero, then what's the point?..
Didn't want be an advocate here, David doesn't need it. But I believe that people like David or myself, with all of our imperfections needed for the industry. Someone might watch it and think: "hm... too rude." or "such a shitty interviewer, I can do better" and WILL DO BETTER. So, I don't mind to be a part of this evolution.
Once again, thanks for watching.
@@FedorovaTakser Tbh, that is a reply which doesn't in any way address what I actually wrote (sadly reinforcing my point). There is far too much mediocrity and vapid hero worship on YT. D Hurwitz sees music criticism to be a form of entertainment. I rest my case.
@@puk4763 sorry for misunderstanding, I probably looked at your message through a wrong prism... May I ask you a question? Do you like anything what David is doing on his channel? Or because of his opinion that "music is entertainment" you deny his work?
Interesting, that people often are getting offended (or feeling upset) by this particular words...
Sorry if I said something wrong, didn't mean to offend you at all!
Truth said about EMI, regarding sound engineering. They never were very good in that department.
Great interview! I could not disagree more about the period performance movement, however. That’s an argument Hurwitz has soundly lost by a consensus of classical music listeners.
It's not a sprint. It's a marathon. There's a long way to go...
That’s fair.
I’m not dogmatically committed to it, I just really like the sound of period instruments for music before about 1850. I once heard the Academy of Ancient Music under Hogwood two nights in a row, doing all-Mozart concerts with Robert Levin playing the concertos on fortepiano. The first night was at Chicago Symphony Hall and you could barely hear them. People were walking out. But the next night, at the Krannert Center at the U of Illinois, was the best live performance of classical music I’ve ever heard. The music makes a lot more sense to me on the original instruments. On modern instruments capable of Bartók and Stravinsky, they have to hold back for Mozart to keep it from sounding like Tchaikovsky. On period instruments they play it for everything they’re worth. So much energy in it.
After Beethoven the line starts to blur. I’m sympathetic to your claim that there’s never been a satisfying Beethoven Ninth by a period orchestra. I think Beethoven was trying to imagine an orchestra that came into being later with that piece. What the period bands try to show in their performances of it is exactly that.
Beethoven’s negative comments about metronome markings is something attributed to him by Schindler, who also said that Beethoven wrote markings for only the 9th symphony.
Beethoven himself wrote a letter praising the metronome and wrote marking for a great many works and his contemporaries did the same things.
Hurwitz knows very little of the work done by the great William Malloch - a great great man I was never privileged to know.
he talk with the hysteric nonsense critic. a lot of his hates - reviews are strange.
After Beethoven the line starts to blur. I’m sympathetic to your claim that there’s never been a satisfying Beethoven Ninth by a period orchestra. I think Beethoven was trying to imagine an orchestra that came into being later with that piece. What the period bands try to show in their performances of it is exactly that.
The Norrington Beethoven 9 is interesting as a curiosity. Beethoven would have been at the forefront of new technology, and superior instruments. I believe he would have used electronic instruments, synthesizers, theremin, midi, computers. He used what he had, and would have used anything that helped him express his ideas. Now that Ive heard what he might have heard, I go back to the music, as played by modern orchestras. Period instrument performances have little effect on how I hear the music.
1:26:30 This basically shows how desperate people are to get their foot in the door. David knows that making that a possibility will further contribute to the death of classical music. Good on him for vehemently refusing.
Nothing is going to change the fact that you aren't Kissin. It's the brutal reality of the industry.
Upon relistening to this ironic section today, I understand that one might find it ridiculous, especially the first half. However, if you look closer, you get the point:
To continue evolving in terms of quality (not just popularity), the classical music industry needs more communication across different strata at all levels: young musicians, critics, music producers, sound engineers, concert organizers, etc.
I was talking about the opportunity for evaluations, not PR. Yes, I naively believe that if younger generations of musicians had access to top-level specialists like Mr. Hurwitz, while studying, it would make our musical world better. However, I totally understand and respect that Mr. Hurwitz may not be interested or excited to educate young performers, just as some big-name performers avoid teaching activities. He already makes a huge contribution through his TH-cam channel, for which I'm very grateful. I just expressed my dream. That's it.
If you allow me, I'll leave your reference to Kissin without comment.
Best regards,
Ilya
@@FedorovaTakser "I was talking about the opportunity for evaluations, not PR."
@@FedorovaTakser "To continue evolving in terms of quality (not just popularity), the classical music industry needs more communication across different strata at all levels: young musicians, critics, music producers, sound engineers, concert organizers, etc."
9:48 wtf, so much knowledge for what? haha
I stopped listening after the first minute, when classical music - whatever its nature - is deemed 'mere entertainment'. Probably an American issue? There is much music which is indeed entertainment and which perfectly fits Mr Hurwitz' description and function, psychological and social (pop, hiphop, folk, jazz, flamenco, etc. etc.). But when, let's say, classical music as an art form, is considered mere entertainment, the whole reason for its existence is missed. It is like saying that painting is mere decoration, whatever it is: Vermeer, Titian, the impressionists, all of those works could as well be replaced by decorative wallpaper. So, it is simply not true, a whole dimension - psychological, cultural, historical, spiritual - is then being ignored.
Silly and unintelligent comment. Stay in the church; though even there, music was 'entertainment' which the powers that be thought would create a sensation of awe and spirituality in the worshipers...
@@bloodgrss Ignorant comment. Typical of these times: the sense of meaning of cultural artefacts eroding. The reference to religious music very confused.
@@JohnBorstlap Ignorant and typically arrogant comeback from a rage-filled man. Your whole rant above is confused; 'mere entertainment'? Seems in your pretentious world we must bow and worship at great art rather than somehow simply marvel and enjoy it. To be 'entertained by it.
You are typical of these times (an Englishman's perspective?); a lament for a rose-colored past that has nothing really that intelligent to say, just whining bile and angry irrelevancy posturing as critical thought. Nothing to do with this whole video, which even you admit (in your silly pomposity) you did not listen to! Yet have the gall to dismiss in text! How's that for ultimate critical ignorance...
He talks no sense about the definition of music, art, and proves his stupidity by saying that classical music expresses very basic emotions only. He has a very partial knowledge, by being focused on a huge quantity of same things. First of all: different musical art works were made according to different views of music, and many of them were certainly NOT about basic emotions or entertainment. Also the concept of entertainment needs many footnotes, principally when talking to today´s audience