New-York tribune., 1922-12-29
Young Boswell
InterUiewS
Walter Danrosch

BECAUSE ne IL conductor Of ne Nec
York Symphony Orchsstru.
hs hos sh0uH greet interest iH fAc
AmeTiean Corserraiorv oi Foniaine-
bisdn.
~ iras a eoneert pianist a. sirtssn.
he is The soH Of ths late Or. Leopold
Domrosch.
WALTER DAAfROSCH sat az ne
piano. frEing out ne u0icc Of a young
singer from fhe American Conscrratory.
Hr told her hoW ircH shc h0d sHng. ard
hoW dinieuh ne aria iCds, and she icds
gone. He saf doirr on long couch bE
The trpluce. There igds quiet force
and greet dignity about him. ne had
the enihusissni o. a man irih gray Aair.
for the things young artists dro irHiHg
70 do. ihot i rare m ser 81 accom-
plishmsnf.
WALTER DAMROSCH - Everybody
u living IN the future to-day because We
want 10 forget the past II Is always
20 after wars. | remember "A a boy OF
sixteen ] was sent on n concert tour
by my father, 20 accompany August
Wilhelmj. the violinist. We started
in Washington and went through the
South 20 New Orleans. That was IN
20 or 20. can still see the wraek
and ruin OF the South after the war.
The whole region was dlsmantled. The
institutions OF learning disrupted. and
meagerly kept up. The standard Of
living was lower than In tho North
because every one was poor. II q took
that long for the South % recover.
think OF Europe after five years.
A greet dog rendered into ne draw-
..rra L. l. aaaasfnas
WALTER DAMROSCH-i was IN
Vienna last June. my FIRST visit In many.
many years. ] expected 20 stay two
weeks. found. with the rate OF cX-
change, 7 could get a palatial room for
90 cents day and banquet for 30
cents. But the terrible decay o. lifc,
he misery brooding over that town.
built for emperors and pleasure, affected
me 80, I got out after six days. You
couldn't see Il. you could feel b.
The Austrian peasant isn't 80 badly
OF because he lives on the produce OF
his land, but the intelligentsia-the mu-
sicians and scientists and teachers and
lawyers-who are paid very little more
than they were before the war. are lit
orally starving. With no hope OF things
righting themselves IN their lifetime.
nc IfNAAh " ANAh NlA Nif NtNNNh hlNA
most honored cultural Institutions arc
crumbllng for lack OF support. hear
the same Of symphony and choral 90
cieties. oil those organizations which
meant 90 much 70 The world before the
war
Young Bosvell-Do you think these
conditions have influenced art7
WALTER DAMROSCH-G should like
20 give n piece Of my mind 20 those
shallow individuals who talk OF the in
Auenee on art Of the great war. II
took Germany $50 years 20 recover from
the Thirty Years War. There is some
thing which sears the cultural life Of
people vho've gone through such a ter
rible experience. Creative impulses arc
checked and the tranquility necessary
10 the creative artist Is destroyed. AZ
present the best minds IN Europe are
devoted 10 finding the next days bread.
IL is remarkable that under such eondi-
tions there is any activity along ar
tistic lines. do not look for great
new art impulse for n long time.
Young Boswcll-How do you think
the war has affected rs here?
WALTER DAMROSCH-All OF the
best artists OF Europe who had the price
VI n NAfMNNNMAN hNANNH NANtA' NfNN wv f'f
and our musical market is overcrowded.
A country. 10 have n real musical lie.
must create u from within. In o1r
country the taste for music has devel-
opcd In a topsy-turvy fashion, but "a
Europe 10 has sprung from the soil. as
Il should. from folksongs, from the nat
ural desire 10 express n feeling. I be-
lieve that natural desire for emotion
should be encouraged. II is tho main
spring Of life and JOY, and nothing can
draw people into fno channels better
than music. But we have been be-
queathed a distaste for the display Of
feeling by the Puritan. Il is not easy
for us 70 show emotions. Whoever heard
an American farmer burst into song
over his work.
And Mr.. DAMROSCH igcnt upstairs
20 his library for conference.