At the recent symposium on the future of classical music criticism, a familiar argument raged over the role of the critic in promoting the form. “The assumption seems to be that music journalists can help keep classical music alive by constantly writing how wonderful it is and how terrific all those folks are who play it.” But besides being an absurd line of reasoning, doesn’t cheerleading demean the whole idea of intelligent criticism? “Critics, in every field, are indeed advocates. But not only for performing artists. We also must consider the audience and defend them from mediocrity and worse. At the core of this job is an allegiance to great art, and to those who create it.”