Evening public ledger. [volume] (Philadelphia [Pa.]) 1914-1942, 1922-10-21
THE CRITIC TALKS
TO MUSIC LOVERS
By SAMUEL l.. LAC1AR

sled grief and anger and called Loudly
upon the brother of the immortal Will
,,.w 7. I. Mt sorero,,v known thu,
u.m. ~ not se"el".y INV" ,,,
William ieil hnd protner' Dut ir'n
Cobb says that he had. and that hi
name was Watt.
At any rate. Mr.. Stokowski, In tht
little speech which preceded yesterday
concert, said that he had received
number Of Letters Of protest agains,
the inclusion OF the overture on the
program OF 4 regular symphony, con
cert. But a. our talented conductor
remarked, 1t IL true that this music
sparkles like champagne mean IKE
| ice water the addition probably being
In difference TO a certain amendment u
the document upon which the Liberties
OK our people are SAID to rest.
But 1t would be interesting TO know
from what particular class OF music
lovers MIR. Stokowski received thest
protests. why on earth should even
the most hidebound classicist object to
piece OF music which mas nlready
celebrated its nincty third birthday. an
age, which very little music nttaihs,
with its popularity still unobated!
TT is all too rarely that any one mas
! i the oppoetuni.y OF hearing this
really fine composition performed as It
| should bc given and MS it was played
| yesterday afternoon. 1t must not be
forgotten that the "Wlllam Tell"
It's day that ia, radical for the
Italian operate school, ana thnt IN the
very Introduction, the hoveltS ana orig
inality Of the work as compared with
the overtures OF me itnnsh ana frchcn
composers OF the daF, makes itseh
apparent.
VI course 'he WORK was piaE"d from
tne oflsinai scoring; WIN the necessary
change that the soio part III the SLOW
i;.S ,mJ'eInsn' h waS ieri:'.,"o .h on .h" IIIE
!lsh horn instead OF the tcnoro4n 'thc
' .enor pass1oh' ior WhirA hoSsln'
,h Mrote II. bu. ,hc ,enoroon nus ecch
Hins''.e i',I' aor nianf Aeuis nl'i th' Eng
tnm. .Sm ", nnr" , pro'"o'' p'sse"Nes Il '''er
''ir ~, h"y Mat.
,oI. S ''.o.,''..o'' , .. ~ ""r'u l"t nv
7, ;,r,t,., % w i" .p''''" '','','1 u" ",>i'
au.T'Ss!;' ~ he'r 'n' overture
p.a,ia ,n'eu Win n mis- instrument a'l"n
oIu.s.ue oIs. u! 'ne kreh, 1'hIph"nS or
thes'rus th anu rern"ps IN: oreh"S'rhS nl
,'nmnnr;as tnn + Wv o.. ".rns" ,'.,.S '.or"
Te,., vi" nior..I % Tm' h, mn' inItG indt. m''i."n
chcstra as who has noiPI ,hoi /, Is
an advantage to hear those solo rarts
performed BY Thoroughly cnu.ble
players, as was the case Yesterday.
THE overture requires good pInycrs
i all .bror,,h r,ha -,
-, l ,ro.ns "s,, oi,is iins i"',H "'r u!
- ,.I;n,, N, S.s,' a. Wy pa.
80. .', -" S'.no"eN4 'ooN we
,,.n"J os ,,,;nJ .o, ",n" ,i' ''iin'' anu 'nf
"Ain,ns .c.nn., ,",n JaoI ~ J W." ",'aii.n i.,,
o.aaptia'. o ".tu"u p'aHclS M''n
oooin 70 ,ha n,nr.nuo i, -. ~ w. h,.i ~
60 odr.r.ona !. a. ~ w n.nIu ~
80 o,,I,, h' 't'uI. Nv P"lloi'heo
~noJ nn, " 'a's' '''"'s'ru Dut oH
e"T,' H,'e. 10 e.. , A., ,,,..,,.
Toll" or"rt,,r. r sa,u .ai. va. III" .''l',m
sn,n. - ~. , Ns .'' 'ho'!'eh' M''h
ibn.o tn- ,.o m,ns''',,,rrr| r III ,!n, me-
Nn,a.t o' .H"N.mc M u Mhsher. breth"Ven,
1:oIT,nn,L ,,', ,h .nos. ~ Neper or
Of Jomht tbst !, nnS 'sn s,ra ne II" II manner
rho nson,s th"t "' q. ID. s't,mg ho!u upon
tie ,pistn peiGp.s' tnat IT mas lived with un-
turv and fnr thoso Soao, ,oa i'nri! cen
can =. ""u ~ ,or .,sT .atsf reas?ns alone there
''' inclusion III symphonic program.
vr >I1-sr h., n.,;
question constantly be-
1ore cohuuc1or az To where the
i!ne must pe drawn between the So
called light music and that which
IS suitable for n symphony concert. OF
course something depends upon H..
other numbers Of the program. if tho
rho'loha' continuity is 10 he nb>rrvr,!.
nut there 10 no reason why som" ui tho
ii%htcr numbers cannot hc us",i on the
r'Smlar programs,
1h"re IS n" din!Mut!on Ct loss of mu-
slcal ulXh!ty by such procedure. TAc.r.
mas been much light music written
whlch VIII pass muster Oh any except
thc very heaviest symphonic urouranIa
ana especially Is this the case with
those compositions which for years have
maintained their popularity.
Inc william Iell' overture il en-.
phatically among these. and, rs Il mat.
ter o. fact, 1t would doubtless be in.
c!uaed among the ten most populnr
works ever composed. Of course, it hns
become hackneycd through indiscrlmi.
nate use. especially by bands. for
which 1t is unusually we'll adapted by
reason OF lts rhythmic swing as wei! as
melody.
VIE overture belongs 70 that large
l. group Of opornti" works which have
passed away as opera. aui Of whicu
only the overture remains. But il j.
nlStinctiv" IN the iHct that it is III"
""'s oVrrtur" "l ltnSSIni Wh!rh holds It's
"wn so long after the r"mlmScr's death.
me opera lts'it ~ aea! and will To-
'nain 80 IN SPIT" "t Mr. Hatt's revival
%. %. py tne MNtr"poiItan This scasnn.
I 2 ~ Il ~