Evening public ledger. [volume] (Philadelphia [Pa.]) 1914-1942, 1921-01-01
The Critic Talks
to Music LoUerS
DHILADELPH1A certainly has no

DHGLADELPHIA certainly has no
i cause for complaint this season in
the matter Of orchestral concerts, for
before the season concludes the music
lovers of the city will have had the OPP
pOrtunity Of having heard nearly every
big orchestra either resident In the coun-
try or on tour. The laRt orchestra to
announce q visit here Is the Chicago
Orchestra, which for sixteen years has
been under the leadership Of Frederic
Stock.
The concert Of the Chicago organtza-
ton will be awaited with much interest.
for 1t has been n number of years since
II gave n concert In Philadelphia. and
those who remember that concert Will
be naturally interested 10 see how the
organization has kept pace in tho interim
with tho enormous development of the
orchestra in America
The Chicago Orchestra Is unique in
several ways. ono of which Is that dur
ing the thirty years of It's existence 1t
has had three names and only two con-
ductors.
IL1HEN Theodore Thomas left New
w York TO take charge of the des-
TIMES of the Chicago Orchestra, it was
known officially as tho Chicago SYM
phony Orchestra. Mr.. Thomas remained
as the conductor OF the orchestra for
fourteen years. until his death and after
that lamentablc cvcnt the nanic. of the
orchestra was changed TO the Theodore
Thomas orchestra, which name II re-
tanned for few years, and then 1t be-
came the Chicago Orchestra.
Before Mr.. Thomas death he had ap-
pointed Mr. Stock, then one OF the viola
players OF the orchestra as assistant
conductor, and II was the wish of the
leader, n wish which was carried out
by tho hoard OF directors That was
sixteen years ago. and Mr.. Stock has
been conductor ever since. There IL
probably no orchestra in the world. In
a large cit. ut any rate. which has a
similar rc~o-d. as generally the tenure
Of conductor does not extend over
more than six or eight years, and even
this Is a liberal estimate,
Mr. Stock also has the unusual dis
tirction Of having risen 10 tho Conduc-
torship from n member of tho orchestra,
his long term OF office. And there is
good son for this fact Abroad, con-
duCtlnE is taught as a separate art, just
as the violin and the cello, for example,
are taught as separate Instruments. and
a man who has qualified as conductor
is not expected to do anything else.
TT Is necessary for the conductor 70
l. have good working knowledge OF
every instrument in the orchestra, al
though It Is not -eccssary for him
actually to h2 ahlo TO play any Of them.
But like tho composer. he must know
what the Various instruments can do,
their range and more important yet,
their tone color in every register.
\ striking instance OF the fact that
composer need not have a practical
knowledge Of the orchestra instruments.
in the sense Of knowing how to play any
of them IS tho case Of BerloZ. No COM
poser who has ever lived had a more
acute detailed knowledge Of tho possi-
bilitieS Of every instrument in the or
Chcstra than Bcrlioz. and yet the guitar
was the only instrument which he played
and the guitar has only once been used
as legitimate orchestral instrument
rs far as the memory Of the writer
goes.
The conductor must know exactly
what the instruments OF the orchestra
can do and what Is the best quality OF
tone which each can produce in every
register His chief stock in trade. fror.I
the practical standpoint. Is his knowl-
edge OF tone and OF combinations Of tone.
We are speaking now of knowledge
and not OF temperament or the mental
attributes which form so great n DOr-
ton OF tho equipment Of conductor.
TIL" first may be learned. the second IS
given and lacking, cannot be acquired.
A LII this brings to mind the remark
n of Arthur N!kisch. probably the most
highly gifted conductor alive today ard