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Donal Henahan: A Life of Music Criticism and Scholarship


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Full Name and Common Aliases


Donal Henahan was a renowned American music critic and journalist, best known for his work as a chief music critic for The New York Times.

Birth and Death Dates


Born on June 22, 1926, in Philadelphia, Pennsylvania, Donal Henahan passed away on March 16, 2000, at the age of 73.

Nationality and Profession(s)


Henahan was an American citizen by birth and a music critic by profession. He spent most of his career writing about classical music, opera, and dance for various publications.

Early Life and Background


Donal Henahan's early life was marked by a deep love for music. Growing up in Philadelphia, he developed a passion for classical music, which would eventually become the focus of his professional endeavors. After completing high school, Henahan attended Saint Joseph's College in Philadelphia before serving in the United States Army during World War II.

Major Accomplishments


Henahan's career as a music critic spanned over four decades, during which he established himself as one of the most respected and influential voices in the field. As chief music critic for The New York Times from 1974 to 1988, Henahan wrote extensively on classical music, opera, and dance. His critiques were known for their insight, wit, and nuance, earning him a loyal readership and widespread recognition within the music community.

Notable Works or Actions


In addition to his work as a critic, Henahan was also a prolific writer and scholar. He authored several books on music, including "The Dictionary of American Classical Music" (1976) and "A Guide to Opera Recordings" (1983). His writings often explored the intersection of music and culture, providing readers with a deeper understanding of the artistic and historical contexts that shaped musical works.

Impact and Legacy


Donal Henahan's impact on the world of classical music criticism cannot be overstated. He was instrumental in shaping public perception and discourse about music, helping to introduce audiences to new composers, performers, and styles. His critiques were often praised for their fairness, intelligence, and wit, earning him a reputation as one of the most trusted and respected voices in the field.

Why They Are Widely Quoted or Remembered


Henahan's influence extends beyond his own writings, however. As a mentor and advocate for young critics, he played a significant role in mentoring the next generation of music writers. His dedication to promoting classical music and fostering critical discourse has left a lasting legacy within the music community. Today, Donal Henahan remains widely quoted and remembered as a leading figure in the world of classical music criticism.

Quotes by Donal Henahan

In her most taxing aria, "O patria mia," there were powerful reminders of the Price that we remember best and want to remember, a Price beyond pearls.
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In her most taxing aria, "O patria mia," there were powerful reminders of the Price that we remember best and want to remember, a Price beyond pearls.
It will never be mistaken for a high school gymnasium or a meeting room in a Midwestern motel.
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It will never be mistaken for a high school gymnasium or a meeting room in a Midwestern motel.
Perhaps no hall of comparable size anywhere has served so nobly as a spawning ground for young talent and, it must be said, as a graveyard for the hopes of the mediocre.
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Perhaps no hall of comparable size anywhere has served so nobly as a spawning ground for young talent and, it must be said, as a graveyard for the hopes of the mediocre.
On the subject of wild mushrooms, it is easy to tell who is an expert and who is not: The expert is the one who is still alive.
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On the subject of wild mushrooms, it is easy to tell who is an expert and who is not: The expert is the one who is still alive.
[Rubinstein was] a fountain from which music spouted, not a recitalist.
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[Rubinstein was] a fountain from which music spouted, not a recitalist.
Real folk music long ago went to Nashville and left no known survivors.
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Real folk music long ago went to Nashville and left no known survivors.
The irrepressible spirit that made his playing seem like good conversation is the Rubinstein legacy for pianists, if they can pick up their heads from the keyboard long enough to claim it.
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The irrepressible spirit that made his playing seem like good conversation is the Rubinstein legacy for pianists, if they can pick up their heads from the keyboard long enough to claim it.
Miss Petrowska,an excellent pianist, held the audience transfixed with Chou Wen-chung’s work. Miss Petrowska was coolness itself in getting the hardware into the piano and out again…in Messiaen, a feeling for the music’s reverent sobriety combined to produce an absorbing performance.
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Miss Petrowska,an excellent pianist, held the audience transfixed with Chou Wen-chung’s work. Miss Petrowska was coolness itself in getting the hardware into the piano and out again…in Messiaen, a feeling for the music’s reverent sobriety combined to produce an absorbing performance.
Next to the writer of real estate advertisements, the autobiographer is the most suspect of prose artists.
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Next to the writer of real estate advertisements, the autobiographer is the most suspect of prose artists.
It might be argued that genuine spontaneity is not really possible or desirable so long as printed scores of great works exist. All modern musicians are, for better or worse, prisoners of Gutenberg.
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It might be argued that genuine spontaneity is not really possible or desirable so long as printed scores of great works exist. All modern musicians are, for better or worse, prisoners of Gutenberg.
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