Evening public ledger. [volume] (Philadelphia [Pa.]) 1914-1942, 1917-10-13
AMERICAN MUSIC
WELL PRESENTED
Philadelphia Orchestra Opens
Season With Interesting Works
by Native Composers

Art that deliberately espouses propa-
ganda, even though 30 noble cause as
patriotism be furthered. is often cribbed'
cabined and confined by the walls OF preju-
dice and blgotry. Even modern France
civilized and intellectually acute as she is
has fallen into this blind alley. barred with
prohibition against performing the works
Of Richard Wagner during the period OF the
war. Considered politically this situation
accentuates the Just scorn in which the
heroic republic holds her barbarous and
treacherous foe. But from the purely artis-
tic standpoint her action is foolish. Iris
tan und Isolde remains monument OF
musical beauty, notwithstanding the sinking
Of the Lustania or even the fendish bomb
ing Of Red Cross hospitals. Music ana
politics are widely unrelated themes.
Not few lovers of symphonic art, there
fore feared that Leouopld Stokowskfs pre-"
sentaton Of an "All-American" concert pro-
gram at the opening Of the Philadelphia
Orchestra's season yesterday afternoon IN
the Academy Of Music might perhaps be-
token more regard for loyalty in world
crisis than reverence for what is best IN
music, irrespective OF boundary lines. 1t
so happened. however, that those who came
I'm trepldatlon remained TO thrill Mr..
Stokowsks program was not only patriotic.
but representative OF high achievement IN
the field Of music. 1t was permissible Tor
auditors 20 be at once loyal and proud OF
their CONF oscr-patrots Charges OF spread
eagle pref Idice are thus happily quashed.
Foreign musical giants Will have their IN
nings at succeeding concerts. 1t was Amer
I, rs turn yesterday and 80 far at least as
Edgar Stilman Kelley and Arthur Foote
were concerned tho hearing was richly de-
served.
The former was represented by a
unldue symphony entitled New England
that cssayed the difficult task Of expressing
the Puritan temperament and ideals in
terms Of music. Spiritual inspiration for
the four movements was derived from the
quaint and touching log book of the May
flower The conflict OF two motives sug-
gestive respectively OF lIty and the human
longing for the beautiful In life provide the
essential material of n musical structure,
fashioned with admirable continuity of
thought, with clarity of instrumental vision
and with n sense of mclcdlc loveliness that
very successfully execute the composer 5
| design There are faint echoes of Beet
hoven's Sixth Symphony in the exquisite
| NE storal movement and OF MCistersnger
| colorlng in the treatment of an old New
| England hymn in the "amentation' pass
age But, on the whole, the work Is as
| original in inspiration IS II is In aim. Dull
moments In the score are rare and Its mas
| terry of modern polyphony is authentic
sound and without Straussian extravaganza
Mr. Foote'S offering, in light and sym
pathetic vein was a tonal treatment OF
| certain stanzas from Omar. Philip Goepp's
| "HeIoic March," when closed the concert
| has been previously heard here. 1t Is Wig
| orous and authoritatvey written, although
| without distinctive charm. The Samson
Of Rubin GodmariS proved to be n rather
| 6reary and muddy effort to derive inspira'
| tiOn from the field so glcriously TILED by
| Camille Saint-Saens. The tone poem," as
| GcldmarS has named II, headed a program
| that was in general highly creditable to
| a nation yet young in music. 1t is almost
| surtrluous to add that the orche 5tra, save
| for a few horn weaknesses lue to damr
weather. was in fine form, and that the con
| ductor was rapturously received, II. T. G.