Evening public ledger. [volume] (Philadelphia [Pa.]) 1914-1942, 1920-09-21
NOW MY IDEA IS THIS!
Daily Talks With Thinking Phadephians Subjects They
Kno,U Best

getting hearing. 1t may be that we don't
wholly like their work. then again it may
be that we are not able In our limited ex-
perience to appreciate its virtue, but there
is something of interest to be cleaned from
it.
II find in examining hundreds of scores
for future production that many of them are
just foolish and therefore unworthy of fur
ther consideration. But others, while they
make an unfavorable impression at first
scanning, ind on second or a third per-
usal not only to possess great interest, but
sopetimes qualities of the highest order.
l can point to my first experience with
Scriabin's .Poemc d'Extasc." some years
ago, when / pushed it aside as unworthy
ot ots attention. Later ACQUAINTANCE, with 1t
showed much that had not seen BEFORE and
l hnaly bcame convinced that It was a great
work.
Often have noticed the same experience
IN the performance Of new work in the
rehearsals with the members of the orchestra
some OF them laugh at the first hearing,
then they cease to laugh, then become in.
terested and then enthused.
For that reason cannot blam, an au.
dience for not liking many works at first
hearing, but feel from experience that thev
too, should not exercise snap Judgment bit
should be willing to extend the same toler-
ance toward new efforts as others have
done.
If music is to grow. we must produce
new works. The orchestra is the only chan
mel through which many composers ever get
chance to have their creations publicly
performed. At the same time this CITY has
an unexampled opportunity to add to its
prestlge by encouraging contemporary art
as that with which it is more familiar.
There is popular idea that all music
OF the past was melodious and that all pres
ent day music is the reverse. 1t must be
remembered that we have in mind only the
hlgh lights OF the past as shown by the giants
of musical creation.
IF we heard all of the works written in
the years gone by, we should find full share
OF dissonances and ungrateful melodies. Con-
Versely, much OF our modern music is full Of
the most splendid though unconventional
melody.
italian and Russian Works
Our new composers are rejecting the
times in which they live. Much of their
work Is experimental, but 1t has it's historic
as well as its musical value.
My observations in Europe during the
last few months showed signs OF a new kind
OF musical expression coming into being. I
believe that most of the nations are suffering
from fatigue due to the war, and that it will
take ten, maybe twenty years for this new
."P' cSSioh W ldhc complete form. But
found quite decided signs of it, especially In
Italy. In the northern part of this country
there are several young composers, Alfano
Malipero, Guarieri. Gui, Cascla and Piz-
zetti. who are marking the transition from
one phase of musical feeling to another. They
are relieving Italy from the charge that She
writes only operate music.
Their work, as is most OF the work of
the near future, is of an imnressionistic ma .
ture, short, concise and rather Jagged. but
still having form and conference. have
also reason to believe that the new Russia
will make important contributions to the
music Of the future. Stravinsky has done
several significant things
'It should he borne In mind then that
lust as we provide for other future features
OF our lvos. we should assume the same
responsibility for the future Of our music md
| rear the musical children Of today so that
they may become the giants Of tomorrow. i"