Japanese Classical Music Critics in the Labyrinth

The world of classical music criticism is a place where personalities clash even more than with performers, and many Japanese critics, in particular, have their own unique viewpoints and strong writing styles. In this article, we will introduce such critics with some fragmentary episodes, and leave it to the readers to judge where the stories are true and where they are urban legends.

Hidekazu Yoshida: A critic of aesthetic sense and solitude

Yoshida Hidekazu is a leading figure in the world of music criticism. His "Music Outlook," which he used to contribute to the Asahi Shimbun, was sometimes harsh, but at the same time full of literary beauty. However, it is said that because his choice of words was sometimes too sharp, there was a certain tension between him and the conductor, Seiji Ozawa. When Ozawa assumed the position of music director of the Boston Symphony Orchestra, Yoshida commented, "His ability is impeccable, but he needs to get used to the 'structure' of an American orchestra. In response, Ozawa is said to have blurted out, "There is poison in his words.

◆Kuniyoshi Uno: A fiercely individualistic person.

Uno was not only a critic, but also a conductor. While he dismissed Karajan as a "musical impostor," Uno was famous for his glowing praise of Furtwängler, exclaiming, "Performance is not a skill, it is the soul! He is so famous for his exhortation that "Performance is not a skill, but a soul! In particular, when fellow critics whispered to him that the recording of an amateur choir he had conducted was "a critic's indulgence," he retorted, "What is a music critic to do if he does not know music! He was even accused of being a "music critic who doesn't know about music!

◆Koichi Nomura: A man feared as the devil of criticism.

Koichi Nomura was a critic of the New Japan Philharmonic, a man who was feared as an ogre of criticism. He was especially critical of the New Japan Philharmonic Orchestra when it was founded, saying of one of its early performances, "Such an orchestra has no future. Legend has it that when Seiji Ozawa heard this, he waved his baton at the next day's rehearsal, saying, "I will make you pay back," and as a result, the New Japan Philharmonic grew rapidly. Perhaps it was because of Nomura's words that the Japanese classical music world was forged.

◆Kozo Asazato: The lonely battle of Schumann devotees

The name Kozo Asazato may not be familiar to many music fans. However, he was one of the pioneers in Japan who argued that Schumann's symphonies were "more profound than Brahms'" and his argument was vehement. In one record review, he wrote, "Those who cannot understand this Schumann are not qualified to talk about classical music," and complaints poured in from record companies at the time. However, he did not care, saying, "It is the one who does not understand it who is to blame. His book is still regarded as a holy book among Schumann lovers.

The Critics' Battlefield

The world of classical music criticism is more than just evaluating performances. It is a labyrinth of conflicts with performers, unique aesthetics, and passion that sometimes seems reckless. If Hidekazu Yoshida's writings have the roundaboutness of a philosopher, Kuniyoshi Uno's are emotional and linear, Koichi Nomura is willing to make enemies, and Kozo Asazato is a martyr to Schumann. Where is the exit of this labyrinth, or was there even an entrance? It is for you, the readers, to decide.