Criticism of “Criticism”
I was surprised by tying up a letter from the young Kosovar composer Kushtrim Aliçkaj who addressed his dissatisfaction with a commission’s evaluation of this year’s musical works. I was disappointed to discover that the intellectual level of young composers today is not what it should be, it has no resonance with European culture or the finesse of the artist. Of course this is a disease that probably comes our way, but unfortunately there are also clear symptoms in Kosovo.
I could also be indifferent to writing, like many others, but perhaps the good requires some concepts, some rules, some rules to discuss and establish between us if we are to behave like educated people. “The world is a dangerous place – Einstein said – not by those who commit acts of violence, but by those who watch without doing anything”
To return to the subject: I think that no one should have the right to judge a commission’s decision. This decision must be accepted unconditionally. The organization of the jury can be judged by the Ministry or department, its composition in which we often observe that different groups penetrate these juries but never the decisions or the same members should be judged for their decisions. In a race because there are some rules there is a judgment that cannot be discussed.
Second: no one can become a judge of all the creativity of someone, except when the creativity of a composer is examined, in the role of musicologist, after sufficient analysis and research work. It is an expression of ignorance and ugliness, minimizing one’s image or creativity without discussion. In my opinion every composer, especially those with great creativity, has put his stone on the wall of our nation’s creative musical values. Comparisons are made by interested specialists and these are not the subject of discussions in social networks. In particular, I think Zeqirja Ballata is one of the leading creators of professional Kosovo music and highly respected in his country, while Dafina Zeqiri is one of the new and interesting sounds of Kosovar music of the time.
Third: I think that the competition for comparing the interpretations of the works is not equal to their value. Professional musical creativity cannot be estimated by the number of clicks. Often a part of the works is performed thanks to social ties or friendships that do not analyze the values but the mutual honor. Without prejudice to the case, I would like to stress that these similarities can be compelling for populist levels but not for artists and professionals.
Finally, I don’t find it nice and wise to judge other committees like Zaqiri’s admission to the Faculty of Music or Ballad of the Academy of Sciences. These impossible missions not only lower the intelligence of the writer of the article and only show his level of anger, but in turn, they become a bad example for many others, including young music students. Being a teacher can contain direct and well-argued opinions and truths, but in no way an anti-educational expression or idea for students, even if they can entertain us and support us with their ingenuity.
One thing remains to be appreciated and perhaps I should have found a superior word to express the value of this phenomenon. Kushtrim is openly expressed, quite open and I consider this a value that is not only musical, artistic, but also human, although not educational.
I am driven to express my opinion also about my sympathy for the work of Kushtrim Aliçkaj, who does not need to be wrapped in this ugly infectiousness of expressions and thoughts that are not at all good for him.