WRITING SHORT: He Wasn’t Born With It, He Learned.

After 27 years at the New York Times, the incessant need for space was like water running over a stone and Holland, through the sheer practice of his craft, learned how, as the San Francisco Chronicle so eloquently said, the
“remarkable ability to conjure up the essence
of a composer or a piece of music in a few deftly Bernard Holland New York Times, Something I Heard, music critic, Yo-Yo Ma,
chosen words. He is, I think, an aphorist of
unparalleled virtuosity.”

But don’t believe us. Read the book. See how he does it. Learn by watching; there are few better teachers than this one. Click here: Something I Heard

And until the book arrives, he’s given three solid pieces of writing advice below to get you started on the short life, writing for the age of social media. Never before has it been so important to boil your idea down to the essence and in the process, concentrating its message and power.

Writing Short Tips from a Master Bernard Holland, Something I Heard, Chopin, music critic

Sign up for our newsletter for endless gifts and fun: http://www.shadowteams.com
Follow us on twitter @shadowteams @skinnysmoothies or @giantsweettart
Visit on Facebook at Shadowteamsnyc Beth Wareham or Skinny Green Smoothies

Author and Former New York Times Chief Critic Interviews Himself About His Quest for Doing Nothing

IMG_1189

www.shadowteams.com

Q AND A

BERNARD HOLLAND: What were your goals in life? Have you achieved them?

BH: From an early age my life’s ambition was to do absolutely nothing. After 60-odd years of obstacles and detours I am nearing my goal.

BERNARD HOLLAND Who was your role model?

BH: Friends of D.H. Lawrence say that he would sit in a chair for four or five hours at a stretch, immobile and silent. I’m not a big fan of his books (I do love “The Sea and Sardinia”) but he’s my kind of man.

BERNARD HOLLAND: What have you been reading?

BH: Georges Perec’s “Life: A User’s Manual” _ a huge encyclopedia of things that interest me; Knausgaard’s “My Struggle” – I read one volume, and rush to the next;. At the moment Joseph Roth’s delicious little newspaper items from 1920s Germany (“The Hotel Years”) ; Next for me is Houellebecq’s “Submission” and Edward St. Aubyn’s newest.

BERNARD HOLLAND: What books on music do you read?

BH: Very few. I admired Ian McEwan’s “Amsterdam” for nailing the contemporary music community (spot-on, uncanny}.Thomas Bernhard’s fantasy Glenn Gould (“The Loser”) is fun too

BERNARD HOLLAND: Do you read critics?

BH: I always keep up with Alex Ross. I’ve read things by Justin Davidson I admire. I like the depth and civility of British music magazine writers but they are usually engaged in a kind of Consumer Reports (this performance is better than that one). I try not to listen that way. Every performance is different; learn from each of them. The New York Times has some interesting new stringers.

BERNARD HOLLAND: How are you coping with retirement?

BH: During my working years I was surrounded by connoisseurs and experts always happy to lift me to their stratospheric levels of wonderfulness. Retirement has freed me from the chains of excellence. Mediocrity interests me. My scotch is at the bottom of Johnny Walker’s color chart. Great wine gives me hives. I doze in the arms of the second-rate. Oh how happy I am.

BERNARD HOLLAND: What are you listening to these days?

BH:. Silence. It’s very powerful.

—– to order your copy of Holland’s Something I Heard, click on the title.

Follow us on @shadowteams @skinnysmoothies @giantsweettart
On Facebook, we are at Shadowteamsnyc Skinny Green Smoothies and Beth Wareham

THE ART OF WRITING SHORT

TIPS FROM A MASTER

Former New York Times Chief Critic Bernard Holland, author of

SOMETHING I HEARD, is much celebrated for his ability to capture a composer or performer in, what the San Francisco Chronicle called, “a few deftly chosen words.”

In an almost 30-year career at the New York Times, Holland had to make 400-word reviews sing nightly.

Few can do it.

(Another great practitioner was the late architecture critic at The New Yorker, Brendan Gill.)

In age of twitter and wordpress, you best be able to write short too.

Here are a few tips from a Master, or Maestro, whichever:

1.  Never state the obvious. For example, don’t start your piece with “I went to an important concert last night” We know it’s important or why would you be there?

2.  Write it, Read it. Cut it. Mercilessly (Awk! An adverb.) Take out every extra word that does not forward the action or thought.

3.  Use words, of course, but use the right word. Don’t use an obscure or big word to impress. Don’t use long phrases and write around the point. Choose the word that gets right on top of what you want to say – provocative or not – and press the button.

(Or in this case click on the book)Bernard Holland New York Times, Something I Heard, Bach, Mahler, music critic, music appreciation, classical music critic, Linda Ronstadt, American Orchestras, Yo-Yo Ma, The crowd shouted more Holland
We respond.

http://www.shadowteams.com/#!bernardholland/c17zu

http://shoutout.wix.com/so/cL38kuqT

Is Classical Music Funny? 25 Ideas from SOMETHING I HEARD by Bernard Holland

 

Something I Heard, Bernard Holland, music critic for New York Times, classical music criticism

To order SOMETHING I HEARD, click on the title or cover

www.shadowteams.com

“Holland has a remarkable ability to conjure up the essence of a composer or a piece of music in a few deftly chosen words. He is, I think, an aphorist of unparalleled virtuosity.”
— San Francisco Chronicle

“No one today can match the limpid elegance and intellectual precision of his style…”
— The New Yorker

/Bernard Holland

CRITIC’S CREDENTIALS
The day I put “music critic” after my name people started asking me about music. Before that no one asked my opinion about anything.

ON GLENN GOULD’S “WELL-TEMPER ED CLAVIER.”
He is the most interesting Bach player in memory, but when taken as a model of how Bach should sound, he is a catastrophe. People who blow up buildings get our attention, and sometimes their messages clean out our heads, but we don’t let them be architects.

ON THE FUTURE OF AMERICAN ORCHESTRAS
They will no more grow than Mother Nature will take the liver spots off my hands. We have grown old together.

SYMPHONIC BLACKNESS
There’s a more relevant question behind the one that asks why so few black musicians go into classical music, and that is: Why should they want to?

ON EARLY MUSIC
If the early music movement taught us anything it is that all music is contemporary.

TANGO
The tango is sublimated warfare. It rarely smiles. Elegance, ritual and a deep dignity win out over darker impulses. In a single Argentine dance form the universal paradoxes of romance between two human beings seem to gather.

ON AMERICAN MUSIC
I would trade some Strauss, most of Hindemith and even a little Brahms for the first eight bars of “April in Paris.”

ON ELLIOTT CARTER AND HAYDN
One wonders what kind of music Carter would have written had he, like Haydn, lived his teenage years in frightening poverty.

SCHOENBERG ON HIS CRITICS
“My music isn’t modern. It’s just played badly.”

FARRAKHAN AND HIS VIOLIN
In the green hills of North Carolina on Saturday night, the lion lay down with the lamb. A reputed sower of discord communed with a maker of harmony. Louis Farrakhan, meet Felix Mendelssohn.

ON CASTING BAYREUTH’S “RING.”
Gabriele Schnaut’s Brünnhilde bore down on the helpless listener like a sopranic freight train threatening derailment at any moment. Her Siegfried (Wolfgang Schmidt) could offer only strangled desperation. When we were lucky, Mr. Schmidt landed on no pitch at all, creating a kind of 19th-century German Romantic rap.

HENRY BRANT INDOORS
The Brant aesthetic, when brought under a roof, shrinks to a form of encirclement. Here the audience, Custer-like, receives incoming fire from every direction.

RING FOLLOWERS
Wagner lovers are besotted people, like the sharers of some extraterrestrial visitation who are compelled to gather in cities like Seattle, Vienna, New York, San Francisco and, of course, Bayreuth to trade sightings.

RING FOLLOWERS II
When doom is announced on Monday but does not arrive until Saturday, the “Ring” and its audiences are captives in time, forming a kind of space capsule in which listeners are as much crew members as the performers.

PETER SELLARS AND EL NINO
Mr. Sellars takes his usual role as honorary member and emotional spokesman for the oppressed and the slighted. It must gall him at times to be so showered with attention and success.

OUTIS AT LA SCALA
The brothel scene steams with bare skin, gyrating pudenda and simulated (I think) copulation.

ON THE SORROWS OF YOUNG WEATHER
The sorrows of this story’s title lie in togetherness and loneliness made to stand side by side.

GIACINTO SCELSI AND HIS BLACK HOLE
A Beethoven sonata begins at the front door, takes a trip, meets new friends, goes home. A Scelsi piece closes the front door and digs in the basement.

CASTING WOES AT THE MET
Gorgeous to look at but virtually uninhabited, the Metropolitan Opera’s new ”Traviata” seems to have been the victim of a neutron bomb.

ON AVERY FISHER HALL
This building is cursed and should be leveled. It doesn’t need an architect. It .needs an exorcist.

ON HIGH PAY AND THE THREE TENORS
Perhaps a more apt title for these events would be “Three Tenors, One Conductor and Four Accountants.”

ON BRUCKNER AND CLASSICAL STYLE
Bruckner is a Mozart sonata that ate too much.

ON BLOGGING
All of us should go home, find a dark room, sit down and be silent.

ON MUSIC APPRECIATION
That leap from ”understand” to ”appreciate” is long and blind.

ON CONDUCTING MAHLER
You do not keep “Das Liêd von der Erde” together by snapping your fingers like Harry James.

ON ACOUSTICS AND LISTENING
Good acoustics, like a good haircut, go unnoticed.
Acoustics are to music what bookbinding and typeface are to Faulkner. If our minds are doing their work, Faulkner’s voice will sound the same in the roughest, smallest and most unwelcoming old paperback as it does in the most luxurious special edition.

MYSTERIES OF CONDUCTING
Look no farther than Leopold Stokowski who managed to pack his dessert-like sound into a suitcase and carry it from city to city.

RELUCTANT CRITICISM
The critic’s duty is to report that Mr. Bocelli is not a very good singer.

MOZART FROM MINOR TO MAJOR
Just as we put up our umbrellas, the sun comes out. We don’t know whether to be happy or sad, and so we are both.

ON CRITICISM
Critics may speak German or English but they can’t speak music. Music is sublimely illiterate

ON RELIGION
Messiaen invented a Christianity with no missionaries and a congregation of one.

To order, click on the title Something I Heard.

Follow us on @shadowteams @giantsweettart or @skinnysmoothies
Chat on Facebook ShadowteamsNYC Skinny Green Smoothies Beth Wareham