Harrisburg telegraph. [volume] (Harrisburg, Pa.) 1879-1948, 1916-04-21
STOKOWSKI TELLS WHERE
AMERTCANSSTANDI In MUSIC

Russia, Scandinavia, Germany, Paris,
and from all parts of America. l also
study programs that other conductors
are making all over the world. l look
into the kind of food" that the Ger
man conductor. the French, the Rus
sian conductor is giving his audience.
| try to watch the world musically-
and l am always waiting for genius.
Many of my programs are made up
a year ahead, indeed the preparations
for Mahler's great Eighth Symphony,
which a plan to produce in March,
were started nearly two years ago;
otherwise how could l complete plan
for two choruses of four hundred
voices each, for childrens chorus of
two hundred and fifty and for an
echoing orchestra in the distance?
Until a piece of music has been
presented to the public, or at least
until it has been put through" an or
chestra, it is impossible to get any
impression of its relation to an audi
ence. You can read a symphony for
the orchestra, but not for the audi
ence. l am glad to say that there
are opportunities for the production
of new compositions at the musical
COnscrVatOries of America. | think
every conductor, like myself is watch
ing for genius l know that DIR. Muck
constantly produces new music by
Americans, that Mr. Stock does the
same thing in Chicago, and i'm New
York that Mr.. DamrOsch frequently
gives opportunities for hearing Amer
lean composers. Mr.. Stock is a COM
poser himself, and | have had the
pleasure of playing one of his sym
phonies. ] find that the best method
for myself is the one that Richter
GHnnatiT11ag pllNral ~
of producing a new symphony score
at a short rehearsal when l have my
musicians together; that also means
occasionally a small audience to hear
the work.
Naturally in addition to the music
we play, every conductor is immensely
interested in the players of the music
l believe conductor, in time, gets
to think Of human beings in terms of
musical interpretation. A mans per-
sonality viii inevitably and quickly
suggest his musical medium. In this
connection ! feel very deeply about the
exclusion of women from our SYM
phony orchestras. 1t seems to me a
great and ucomprehcnSiblc bluuder
The particular spirit that women put
into music, their kind of enthusiasm,
their devotion to anything they un-
dertake, would be invaluable i'm the
formation OF symphony orchestras.
Ind that women. are especially good
as NiollnlsJS, II 10 beEin with they care
Hlutn ABOUT luuSlci IN iact, women are
wonderful in anything they want to
do.
600 Women i'm Chorus
In the production of tho Mailer
symphony we have about six hundred
women SINGING parts OF utmost DIT
HCuIiN IN me chorus' ana thoE nave
laNeh ND inns work with keenneSS,
HHHE d H.a. 49,.
WIN an enthusiasm, with really an
ava NofarllF. IN audlllon 10 thElr
uehEhl IN lhe work, ihcN are quick
10 Eg, lll. meaning on Il score theE are
nlmhIe-#llied IN taxing IN a new idea,
IN und't.l ndlnE the nuance in the
coihnlhaIol OF so naNl instruments
INTO ono harmony ana theE are most
IouSCltHtiouS apout appointments
liiile ana PIaCuoe'
hSh ! Ihllk OF women as see
mem ~ olo i3e m n5liai 5nt world Wnat tnGy
are Capahie on uoWS' th'lt me SllII
eNGeH.ht technique, ! reailHe what a
sPirh'lu power we are leitlnE go TO
waste IN lIllS country, ana IN othcr
countries 100 Nhat poor economy IT.
Is 10 laNe II tof granted that women
are nor feauN 10 enter the world OF
art are not capable of becoming fluent
Gnahhels Tor inc expression OF genius.
we ar ueIir'iaIeN ShultlhS away
great lofceS Tor beauty ana progress
ny leaving women out OF our scheme
OF IhlnES IN the art world. We are
SSacrlHClnS Accomplishment 10 traql-
uoh' TOT lhe sake OF not making the
EIlofl or Ppchlhs our Splfitual eyes
we are leaNlnS unused power Of
aoainN'h,"Hl hs great IL seems TO me
US me el'cll1ellN IN the cl"uhS "mch
we nave NOT Het learned 70 hrlnE INTO
our MONIES 10 heIp us IlNh our ll\eS
more easily ana 'oi'lloftabtl.