Sampler of Thomson's writings:
On Beethoven's Egmont Overture. An hors d'oeuvre. Nobody's digestion was ever spoiled by it and no latecomer has ever lost much by missing it.
On Jascha Heifetz's Mozart. [It] tries . . . to make out of the greatest musician the world has ever known something between a sentimental Pierrot and a Dresden china clock.
On the New York Philharmonic (1943). The sound of it has of late years been more like an industrial blast than like a musical communication.
On Die Meistersinger. It is unique among Wagner's theatrical works in that none of the characters gets mixed up with...