Michael Steinberg, a distinguished music critic known for his insightful and eloquent writings, was born Carl Michael Alfred Israel Steinberg in 1929 in Breslau, Germany. At the age of 10, he was among the thousands of Jewish children rescued through the Kindertransport, a rescue mission that brought over 9,000 children to safety in England in the months leading up to World War II. On May 4, 1939, Steinberg traveled aboard a Deutsche Reichsbahn train departing Berlin-Charlottenburg, a journey that marked the beginning of his escape from Nazi persecution.

Despite the severe obstacles posed by both the German authorities and restrictive immigration policies of host countries, Steinberg’s escape was ultimately successful. He was placed with an English family who treated him with kindness, and later reunited with his mother after she also escaped Breslau. The family eventually emigrated to the United States, joining his older brother in St. Louis.

Steinberg’s passion for music grew steadily, even though he never excelled as a performer. Graduating from Princeton University, he gradually assimilated into American culture, adopting the name Michael rather than his childhood nickname, Carmi. After brief teaching work and occasional music reviews in New York, he became the music critic at The Boston Globe, a position he held for 12 years beginning in 1964.

During his tenure, Steinberg earned a reputation for clear, incisive critique combined with a warm, personal tone that engaged readers deeply. His writing conveyed complex musical ideas in a manner accessible to both musicians and general audiences. Steinberg’s reviews, which have now been compiled in the volume *Defending the Music: Michael Steinberg at The Boston Globe, 1964-1976* (Oxford University Press), demonstrate a devotion to honest appraisal, often challenging celebrated figures with frank but thoughtful analysis. For example, in his first review for The Globe, Steinberg did not hesitate to criticize Leonard Bernstein’s Symphony No. 3 (“Kaddish”), describing it as marked by “unashamed vulgarity” and questioning the quality of its spoken text.

Although Steinberg primarily focused on the Boston music scene, his evaluations transcended local contexts and reflected a deep engagement with the broader classical music world. His critique was never dismissive for its own sake; rather, it was informed by respect for the art form and a commitment to fostering understanding among his readers. Steinberg’s work remains a testament to the role of criticism as a vital part of the musical ecosystem, serving audiences, performers, and presenters alike. His legacy underscores the value of thoughtful criticism in an era when such discourse is increasingly rare.