Chicago on the Aisle 147 CHICAGO STUDIES
Chicago on the Aisle 147 CHICAGO STUDIES Claudia Cassidy’s Music Criticism and Legacy HANNAH EDGAR, AB’18 Introduction Criticism of value is not a provincial art. It has nothing whatever to do with patting undeserving heads, hailing earnest mediocrities as geniuses, or groveling in gratitude before second-rate, cut-down or broken-down visitors for fear they might not come again. It is neither ponderous nor pedantic, virulent nor hysterical. Above all, it is not mean-spirited. Ten what is it? Ideally, criticism is informed, astute, inquisitive, candid, interesting, of necessity highly personal. Goethe said, “Talent alone cannot make a writer. Tere must be a man behind the book.” Tere must be a person behind the critic. Nobody reads a nobody. Unread criticism is a bit like an unheard sound. For practical purposes it does not exist. — Claudia Cassidy 1 1. Claudia Cassidy, “Te Fine Art of Criticism,” Chicago, Winter 1967, 34. THE UNIVERSITY OF CHICAGO 148 In June 1956, Chicago magazine ran an eye-catching cover story. A castle composed of colorful shapes, as though rendered through collage, overlap over a parchment-white backdrop. In the form of one of the shapes is a black-and-white photo of a woman of indeterminate age: fair-faced, high cheekbones, half-lidded eyes, a string of pearls around her neck and a Mona Lisa smile on her lips. She is named, coronated, and damned in one headline: “Claudia Cassidy: Te Queen of Culture and Her Reign of Terror.”2 When Bernard Asbell wrote this profle, Clau- dia Cassidy was the chief music and drama critic of the Chicago Tribune and at the height of her career.
[Show full text]