Page 153 - Weiss, Jernej, ur./ed. 2024. Glasbena kritika – nekoč in danes ▪︎ Music Criticism – Yesterday and Today. Koper/Ljubljana: Založba Univerze na Primorskem in Festival Ljubljana. Studia musicologica Labacensia, 7
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music criticism in ireland
sic-making, but also as a vigorous and passionate commentator on, and
participant in, cultural politics in a period which saw an exponential
growth in Irish musicianship and musical infrastructure.21
Acton is credited with establishing “standardised and punctual start-
ing times for concerts in the capital” and was one of the main campaign-
ers for a national concert hall (which was opened in 1981) and generally for
adequate funding for music in Ireland.22 He did not just write reviews but
also contributed to discussions concerning aesthetics and cultural policy.
In recognition of this, he was elected a governor of the Royal Irish Academy
of Music in 1957 and was made an honorary fellow in 1990 and its vice presi-
dent in 1998. He wrote a book on Irish music and musicians23 and co-edited
a history of the Royal Irish Academy,24 while being the subject of an exten-
sive biography himself.25 A selection of 65 of his reviews and speeches was
published during his lifetime.26
A talk entitled “A Critic’s Creed” which he gave in 1974 in Dublin of-
fers a good insight into his approach to reviewing, yet also into the issues
musical life in Ireland had to grapple with during this period.27 In it he em-
phasised that “[t]he critic’s first responsibility, by a very long way, is to his
readers.”28 Yet he immediately added another duty: “Perhaps an Irish music
critic’s prime responsibility is (in theory) the advancement of the practice and
enjoyment of music in Ireland.”29 While this second point comes close be-
hind the responsibility towards the readers, for Acton the two can and of-
ten do reinforce each other – there is no conflict between them.
The standard of classical performance in Ireland at the time was by
and large below that in countries like Germany, France or Austria. How
21 Richard Pine, “Obituary: Critic with a Unique Voice That Helped to Shape Irish Mu-
sical Culture: Charles Acton,” The Guardian, April 29, 1999, 24, https://www.thegu-
ardian.com/news/1999/apr/29/guardianobituaries.
22 Ibid.
23 Charles Acton, Irish Music and Musicians (Dublin: Eason & Son, 1978).
24 Richard Pine and Charles Acton, eds., To Talent Alone: Royal Irish Academy, 1848–
1998 (Dublin: Gill & Macmillan, 1998).
25 Richard Pine, Charles: The Life and World of Charles Acton, 1914–1999 (Dublin: The
Liliput Press, 2010).
26 Gareth Cox, ed., Acton’s Music: Reviews of Dublin’s Musical Life, 1955–1985 (Bray:
Kilbride Books, 1996).
27 Charles Acton, “A Critic’s Creed. A Talk by Charles Acton,” The Gate Theatre, Octo-
ber 20, 1974, quoted in: Cox, Acton’s music, 15–29.
28 Acton, “A Critic’s Creed,” 17.
29 Ibid., 18.
153
sic-making, but also as a vigorous and passionate commentator on, and
participant in, cultural politics in a period which saw an exponential
growth in Irish musicianship and musical infrastructure.21
Acton is credited with establishing “standardised and punctual start-
ing times for concerts in the capital” and was one of the main campaign-
ers for a national concert hall (which was opened in 1981) and generally for
adequate funding for music in Ireland.22 He did not just write reviews but
also contributed to discussions concerning aesthetics and cultural policy.
In recognition of this, he was elected a governor of the Royal Irish Academy
of Music in 1957 and was made an honorary fellow in 1990 and its vice presi-
dent in 1998. He wrote a book on Irish music and musicians23 and co-edited
a history of the Royal Irish Academy,24 while being the subject of an exten-
sive biography himself.25 A selection of 65 of his reviews and speeches was
published during his lifetime.26
A talk entitled “A Critic’s Creed” which he gave in 1974 in Dublin of-
fers a good insight into his approach to reviewing, yet also into the issues
musical life in Ireland had to grapple with during this period.27 In it he em-
phasised that “[t]he critic’s first responsibility, by a very long way, is to his
readers.”28 Yet he immediately added another duty: “Perhaps an Irish music
critic’s prime responsibility is (in theory) the advancement of the practice and
enjoyment of music in Ireland.”29 While this second point comes close be-
hind the responsibility towards the readers, for Acton the two can and of-
ten do reinforce each other – there is no conflict between them.
The standard of classical performance in Ireland at the time was by
and large below that in countries like Germany, France or Austria. How
21 Richard Pine, “Obituary: Critic with a Unique Voice That Helped to Shape Irish Mu-
sical Culture: Charles Acton,” The Guardian, April 29, 1999, 24, https://www.thegu-
ardian.com/news/1999/apr/29/guardianobituaries.
22 Ibid.
23 Charles Acton, Irish Music and Musicians (Dublin: Eason & Son, 1978).
24 Richard Pine and Charles Acton, eds., To Talent Alone: Royal Irish Academy, 1848–
1998 (Dublin: Gill & Macmillan, 1998).
25 Richard Pine, Charles: The Life and World of Charles Acton, 1914–1999 (Dublin: The
Liliput Press, 2010).
26 Gareth Cox, ed., Acton’s Music: Reviews of Dublin’s Musical Life, 1955–1985 (Bray:
Kilbride Books, 1996).
27 Charles Acton, “A Critic’s Creed. A Talk by Charles Acton,” The Gate Theatre, Octo-
ber 20, 1974, quoted in: Cox, Acton’s music, 15–29.
28 Acton, “A Critic’s Creed,” 17.
29 Ibid., 18.
153
