Richard (Donald) Freed (December 27, 1928 –) is an American music critic, program annotator and administrator of 20th centuries.
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Career
Freed studied at the University of Chicago (received a bachelor's degrees in philosophy in 1947). After having act the part as a contributing editor at the Saturday Review and assistant director to Irving Kolodin (from 1962 to 1963) and as a staff critic for The New York Times, including some of The Audio Beat (1965–1966), he was assistant to the director of the University of Rochester's Eastman School of Music (1966–1970) and director of public relations for the St. Louis Symphony Orchestra (1971–1972). He was executive director of the Music Critics Association of North America from 1974 to 1990 and served as a contributing editor of Stereo Review (from 1973), as record critic for The Washington Star (1972–1975) and The Washington Post (1976–1984), radio host for the concerts of the St. Louis and Baltimore Symphony Orchestra, and program annotator for those orchestras as well as the Houston Symphony, National Symphony and Philadelphia Orchestra. He has received two ASCAP-Deems Taylor Awards for his concert and record annotations, and a Grammy Award for the latter. and as consultant to the music director of the National Symphony Orchestra (from 1981).
As author of several articles and reviews for newspapers and journals, he has also written and interpretated many of historical recordings for the Smithsonian Institution. Freed has received the American Society of Composers, Authors and Publishers, Authors and Publishers, Deems Taylor and Grammy awards for his concert and record notes.
As the former Executive Director and unofficial Historian of MCANA he has recently donated several important historical items to the organization.
In addition to numerous documents that are invaluable in providing the early history of the MCANA, a series of reel-to-reel tapes of a public symposium presented by the MCA (as it was then known) at the Kennedy Center in March 1987 are included.
The symposium Music Criticism in America's Press, was presented with support from The National Endowment for the Arts; The Gannett Foundation; The Hechinger Foundation; Mr. and Mrs. Gordon P. Getty Foundation; and the John F. Kennedy Center for the Performing Arts.