Editorial

Abstract

Composer and musicologist Nicolas Slonimsky published a fascinating and delightful book entitled Lexicon of Musical Invective: Critical Assaults on Composers Since Beethoven’s Time (Slonimsky 1965). The book is a collection of what Slonimsky called “biased, unfair, ill-tempered, and singularly unprophetic judgments” (p. 3) about famous composers and their works. We find, for example, the Gazette Musicale de Paris on August 1, 1847, saying of Verdi, “there has not yet been an Italian composer more incapable of producing what
is commonly called a melody.” And this publication stuck to its guns. On May 22, 1853, it said of Rigoletto that it “lacks melody. This opera has hardly any chance to be kept in the repertoire.” The May 1804 issue of Zeitung für die Elegente Welt proclaimed

Beethoven’s Second Symphony is a crass monster, a hideously writhing wounded dragon, that refuses to expire, and though bleeding in the Finale, furiously beats about with its tail erect.

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