Evening public ledger. [volume] (Philadelphia [Pa.]) 1914-1942, 1918-11-23
THE CRITIC TALKS
TO MUSIC LOVERS
Comment on Things
Musical in Discriminating
Philadelphia

TNHE free concerts which began last
i Sunday afternoon at the Academy of
the Fine Arts is a development Of Phila-
delphia's musical life which should re-
ceive the most cordial support both
from musicians and laymcn. For those
professional musicians who contribute
their services to this most worthy prof.
ect, 1t is frequently case Of bread
cast upon the waters" The love OF
good music which these men often in
culcate and at all times stimulate by
giving their services to a muslc-hunRry
audience frequently brings practical re-
turns of highly gratifying kind.
The committee in charge of this eS-
cellent project has been successful
since the concerts were first instituted.
in getting many of the best professional
musicians In the city to participate.
Thus far this year (and the first con-
cert took place only last Sunday there
have appeared. or promised to appear,
ssingers such as Mary Barrett, Horatio
Connell, Alice Fidler and Marie Stone
Langston. and among the instrumental
lists Hunter Welsh, Agnes Clune Quin-
Ian, David Dubinsky. Evelyn Tyson and
the Hahn Quartet.
TT IS common saying that in America
i you cannot give away good thing
and that you must charge IA price, the
higher the better, for anything you
have or people will not appreciate It. II
any one really wants the falsty of this
statement demonstrated, at least so far
as good music Is concerned. let MIN
attend one of these concerts at the
Academy Of the Fine Arts some Sunday
afternoon
The attention which is given to the
music, the general good manners and
respectful attitude of the audience to-
ward the performers will be found to
be in striking contrast to the attitude
OF the fashionable audience at the Met
ropolitan Opera House at the concert OF
the French Conservatoire Orchestra
when M. Messenger had to rap the con-
ductor's stand with his baton no fewer
than four times in one instance to Sc
cure silence enough to begin.
The audience at the Academy OF the
Fine Arts concerts is just the kind which
will do the most for music once 1t
becomes thoroughly interested In II.
Nearly all are prosperous. intelli-
gent young Americans and In many
cases cultured, but who. because the de-
velopment of our country has thus far
been economic rather than artistic. ana
because Sunday concerts are virtually
IOTpluuen mere, nave NV bSN'''S
ested In music, because 1t has not oeen
brought close enough to them IN the
earlier years OF their lives.
NPEAKINC of concert manners ana
- the humiliating experience OF M.
Messenger at the Metropolitan concert
another instance. even worse. took pace
at the beginning of the second act OF
"Marouf' at the Metropolitan last Tues
day evening. The entrance of the con-
ductor, NJ. Monteux. was absolutely un.
noticed by the audience and the SOFT
prelude began In n chatter that not only
drowned the music. but caused NJ. Mon
teux to turn his head involuntarily with
as near n look of panied surprise as a
French gentleman eyer gives. even under
such circumstances.
or course, It is not necessary, perhaps
1t Is even undesirable, to greet con-
ductor with applause whenever ne
enters, but at least some courtesy Is due
The idea Of the composer In prelude
before an act Of an opera is to put the
audience into the proper temperamenta
state to hear and see sympathetically
what will be given when the curtain
rises. Needless to say, II the pretude
cannot be heard no such effect can be
obtained. But then 1t all depends on
what you go to the opera for--to hear
to see, or to be heard and be seen
A MONG the novelties which Mr. Sto-
\ "A kowsh has announced for the near
future is symphonic poem entitled