The Washington times., 1920-07-22

times to tell the inner meaning OF
his music dramas.
Take the record that contains all
these "bits" OF the orchestra-they
are illustrations for teaching-and
then NIL out your library with the
compositions In their entirety. You
will not only fnd added pleasure in
listening TO these records. but you
may begin to claim the worlds great
art of music as your very own.
STORIES FROM THE ORCHESTRA.
Take an orchestral novelty of last
season, when the Philadelphia Or
chestra. under Leopold Stokowsky,
played Dvorsky's Haunted Castle"
Dvorsky's grim humor is real Edgar
Allen ghost story in tone. And what
a use of the orchestra! Ouf! One
feels scared" OF the wind and the
rattling of bones, of the "haunts'
sthat seem to flock over the ieds
where the cowbells tinkle and COB
lins dance. Fantasy and terror, quiv.
ering and clamor uncanny cries in
weird orchestration. is this Haunted
Castle" of Dvorsky.
1t Is Schubert who uses the cello
to sing out his immortal melodies in
many of his orchestral works. Hear
the Unfinished Symphony Of Schu-
bert and note the lovely. vibrant tone
OF the cellos and of the bass viols.
Or hear the solo of wood-wind
against the lovely background OF vio-
lins. This music of the orchestra
does not tell a program story. but 1t
tells of the beauty that lies waiting
to be known, in the voices or this
fair orchestra in the hands of this
great writer of songs, whose melodies
AI l. 4 l. stva 20
When Liszt wrote a Faust" SYM
phony, he made the orchestra paint
tone-picturos of Faust. the hero: OF
Marguerite. and OF Mephistopheles.
To illustrate his method in the
orchestra, he gave to the violas and
'cellos. slowly and in muted tones. the
first motive that seemed to utter the
mood OF the restless scholar. Imme-
diately after he longs for some hu-
man experience and the outer world.
Here Liszt uses the solo oboe. while
softly beneath it are heard the
clarinets.
A THOUSAND AND ONE TALES.
Words cannot give the difference in
the kind of people these voices Of the
orchestra are. But know them, and
they become very good and entertain
ing friends. indeed.
1t is a world of experience that the
orchestra can give in tones. To SHOW
how full Of meaning and how dra-
matte these tone-poems may be, one
writer has said:
"Perhaps 1t were a better world IL
there were no cause for the merry
wrath of Beethoven-a perpetual
Nirvana, where Mozart sings the
theme of constant blessedness.
"Of the world OF moral strife
beethoven is the great prophet he is,
therefore, the most human Of all the
tone poets"
1t is interesting to think that music
is not remote from us. but that 1t is
the language that tells more graph
ically than words can do the many
emotions, dreams, songs, and sorrows
of which our life is made.
Take the orchestra in the mad
whirl OF a Sheherazade tale OF tho
Arabian Nights, that Rimsky-k orsa-
kow has given with the mad aban-
don of Russian temperament. with its
tempestuous spirit of the dance.
1t is long way from that story to
the feeling given in our own Mac
Dowelrs music where he makes one
aware of the broad plains of the
primitive America, of its dignity, It's
rest, and it's peace.
The story of the orchestra, 1t is a
thousa nd tales, if the hearer will lister
TO them. The voice of the orcheStrs
are the people of different tempera
ments. The master composer is ht
who knows what voice to bring into
his theme, to paint in tones thought.
| that lie too deep for words.