There's much to be said for keeping personal politics away from concert music. Composers know this. Audiences prefer pictorialism and evocation to propaganda. That's why they are in the hall. Even Shostakovich, chronicler of Soviet political events, composed that way. But not all critics have the self-discipline to leave smug prejudice at home. The San Francisco Chronicle's local reviewer, who normally precedes New York Arts into print and shall be nameless here, launched an atavistic attack this week on Stéphane Denève's program choice of Respighi's Pines of Rome, calling the work "proto-fascist" and condemning it's march up the Appian Way as an appeal to nationalist sentiment. How ridiculous!