There is a great deal of antagonism toward Norman Lebrecht, a great deal
of criticism of his motives and personality but a complete paucity of
attention devoted to Lebrecht's subjects and what he actually writes.

I really think it is important not to judge any writer purely on his style.
By taking into account Lebrecht's career as a music critic who has strong
views and not a lot of space to get them across one can see how he has
developed a punchy, fast-moving style.  I also believe Lebrecht's
particular personality doesn't deny him the ability to be perceptive -
there are plenty of examples of great people who had, at times,
disagreeable personalities (Mahler, Churchill, Eliott ...).

Lebrecht doesn't set out to prove that conductors, soloists or agents are
evil, as Kevin Sutton suggested.  Rather, he tries to examine the ways in
which some of those who are most well-known have behaved.  In outlining
Levine's sexual indiscretions or Karajan's dictatorial relationship with
the Berlin PO or Fleischmann's dubious strategy in connection with the
appointment of Salonen over Previn to the Los Angeles PO, Lebrecht is
simply describing what really does happen in the world.  He has a specific
point in that he believes that artists and their agents often receive vast
fees for work which is not particularly special and which at times is
deceptive or immoral.

Speaking from personal experience I know that a totally unreasonable
situation is currently in existence concerning Mark Wigglesworth and the
BBC National Orchestra of Wales.  7 years of hard work by Wigglesworth has
elevated the standard of the orchestra to an astonishing degree, won better
and better players for the orchestra and vastly increased their national
and international reputation.  Not only this but he has consistently fought
for better conditions for the players by ensuring they do not have to
travel at ridiculous hours, that they are listened to by the orchestra's
management, that they can have time off when it is most needed.  Having
done all this, he is now sacked for not having fulfilled the terms of his
job description of Music Director.  Wigglesworth was not informed of this
decision:  it was announced to the orchestra by the Director of Music, Huw
Tregelles Williams, that Wigglesworth has resigned and Wigglesworth found
out initially only by chance through his own manager.  What Wigglesworth
has not done properly is not clear - when questioned privately, Tregelles
Williams simply stated the Wigglesworth was "difficult".

Now I know all this through speaking to Wigglesworth himself and from
speaking to other of his colleagues.  I don't think that this reduces what
I know to tabloid gossip; I have talked at length with a number of people
on the subject.  Lebrecht has known a large number of musicians through
his career and surely reports what they say faithfully.

Lebrecht highlights hugely important discrepancies of power and financial
reward which exist in the music profession between rank-and-file musicians
and the 'stars'.  It is unacceptable that Levine charges a fee of 25,000 to
work for 2 nights with the Philharmonia to conduct a piece which he must
know like the back of his hand (Verdi Requiem); it is unacceptable that in
this same orchestra all the musicians are forced to accept a pay cut of 2%
at the same time.  It is unacceptable that Mark Wigglesworth be forced to
leave the BBC Welsh.

I think that Mr Finessi highlights an important point in suggesting that he
doesn't like what Lebrecht has to say as a music-lover, but he is compelled
to agree with as a professional musician.  Lebrecht is rarely critical of
anyone's talent but, clearly, talent is no excuse for abuse.  His world is
not 'poisonous', it is simply blunt.

If Lebrecht's 'gossip' can be refuted then it is surely imperative that it
actually is.  If it cannot be refuted then we must think very carefully
about the way in which the music industry is structured.

Robin Newton
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