Evening public ledger. [volume] (Philadelphia [Pa.]) 1914-1942, 1919-12-06

Clevy is To- supplement the work OF the /
Philadelphia Orchestra and other exist
ing musical organizations and not in |
any way to set itself up as a possible |
rival. The present directorate Of the |
philharmonic realizes that by cultivat. |
ing assduously its own field there is
ample room for its existence and that il |
may thus become n potent factor in the |
musical life of the city.
TNHERE is plenty Of music of the |
l. highest class that will not fit into |
n program such as the Philadelphia |
Orchestra gives every week. but which /
is well worth hearing. Among this |
music arc some Of the lighter sym
phOnies, such as those of Raft and Co |
dard, and orchestral pieces in one or
two movements. Programs made UP Of
this kind of music admirably supple
ment the seasons werk Of the philn
delphia Orchestra and could be given
in satisfactory manner without the
arduous rehearsal required for a com
plicated modern symphony.
There is also a field for the produc
tion OF American music OF admitted
worth, OF which there is n fair amount
which does not often find its way to the
programs of the larger symphony or
chestras. For example, there are suites
of Mcdowell, Footc, Chadwick and
others, to mention only n few, with
which even the most rabid concert goer
has only speaking acquaintance, if he
ever heard them at all.
There is no doubt that ever since the
beginning of the wur-or, rather, our
participation in it--all our orchestral
conductors have been overwhelmed with
food of music, good. medium and bad.
but all bearing the magic name Amer
ican,' as if that alone were sufficient
to put it on the program. Probably
Mr. Thunder will get his share of this.
if he has not already had some Of it,
but those who know him best have no
doubt as to his ability to take care Of
the situation and to make up his pro-
grams from the best music obtainablc,
regardless of its origin.
TNIIE selection OF local soloists, how
- ever. is wise move. Philadelphia
ranks high for it's production of capa-
BILE vocal and instrumental soloists, and
the Philharmonic Orchestra will present
an excellent medium for the presenta
ton of those who, in Mr.. Thunder's
judgment, are capable. Mr.. Stokowski,
with thp best intcnuons in the world,
cannoJ present more than one or two
local soloists a season at the regular
symphony concerts, and this teId-the
discovery and cultivation of local solo
talent-with its splendid possibilities,
may safely be left to the Philharmonic
Society. ...
Thus in n variety of ways the Phil
harmonic Society can easily justify its
existence and do very valuable work
in the musical development of Phila-
delphia Mr.. Thunder might also see
his way clear later to giving some choral
works with orchestra. He is already
the director of two of the leading sing
ing organizations of the city, and thus
has the chorus, the most important fac
for in these works. ready to his hand.
The directors of the society are to be
congratulated upon the selection of Mr..
Thunder as the conductor.
THE Matinee Musical Club performed
l. an excellent service in the cause of
American music when it gave pro
gram of the works of Henry X. liadley
ot its meeting last Monday afternoon
and had the composer himself take an
active part in the program. 1t af-
forded the members of the club and
their friends an unusual opportunity
to hear and meet one of our country $
most distinguished composers.
II is unfortunate that more opportu
mites of this kind cannot be given the
music lovers of America, but the prin-
rinal difficulty is the lack of Hadleys-
men who have composed enough music
of high merit in the various forms to
permit an entire program to be made
up from their works.
The service to American music in
affairs like this lies in the dissemination
of more intimate knowledge of the
work of the composer among a large
number Of musically inclined persons.
II is safe to say that Mr.. Hadley and
his work are now better known to many
members of the Matinee Musical Club
than they ever were before, and that
through those who were present on Mon
dnv many others will learn. of it in that
detail which is necessary to make the
works of n composer we'll known. This
in time must have its effect upon tho
number of times n composers works
arc nrcsented by the great orchestras
and other organizations which mark the
Carnival" OF n composer.
yUHE production on Tuesday evening
/ of Donizetti's "L'Elisir d'Amorc"
and the coming presentation of ''rosca'
will give nm excellent opportunity for
onnra goers to compare two strongly
contrasted types of Italian opera. The
first represents the days when operas
were composed To exhibit the vocal
prowess of the singers and the second
the period when dramatic truth and the
denicting of actual situations with ap
proprite musical settings are given proc
edence over mere singing.
Donigetti's operas were the natural
ortcome of the bel canto style of sing
ing. which produced undoubtedly the
largest number of great singers that the
world has ever known. As in most
other things carried to extremes, it got
topheavy and fell largely of its own
weight However, the wonderful mel
odies of this and other operas of like
tvne will keep them on the stage ms
long as there are Carusos to sing them,
for the public still retains that impulse
to 90 to the opera TO hear the singer
rather than to hear the work.
The serious operas Of this school are
destined to an earlier demise than the
comic ones. 'Lucia di IIammermoor"
10 doubtless Donizett's best work in
tro yedy. but it is presented now only to
chow off the voice and technique of some
oreot coloratura soprano. IL by no
means reaches the standard now de-
manded for work of its somber char
acter.
AN ENTIRELY different situation
~ Lo,ra,,o,, ,pith paaacJ - A.