Evening public ledger. [volume] (Philadelphia [Pa.]) 1914-1942, 1922-01-04
Music ReUiUdL
Seen by dIndy
Continued from PaEe Ono

Continued from Pure Ono ..-.- -.
pearss to him. His views are of pc
culiur interest and significance, COM
ing from so distinguished n composer
. and from man who is so familiar with
the tendencies Of the music Of all the
( leading countries as he Is. ; .
Asked Of Young Composers
VI. dIndy was asked as to which
path the younger composers of France
we're tending, toward the modern har-
nominations of Dcbussy and Ravcl or
whether there was Il tendency to return
to the more conservative lines as laid
down by Cesar Franck and his follow
ers, Of whom NJ. d'Indy himself is the
most distinguished.
That is hard to answer lie re-
piled. But. aftCr all, these composers
are all working toward the same end.
From the time of Bach the matter has
been tho same. They are all adding to
thc literature Of music and they arc all
sincere and believe N what they are
writing, and that it Is the musical truth
as they sec il. Bach, Beethoven, Cesar
Franck. DebuS>y. Ravcl are in the main
sense all alike. The difference is only
the individual form of expression.
'1t is the same way with the best
composers Of the other countries
MousSorgsky, Tschaikowsky, Borodinr
and the others among the Russians are
only expressing in their own way the
things which they feel, the same as the
French. composers
But M. d'lndy is not in sympath,
with the ultra radical tendencies of the
modern Italians of the cacophonic
school. Asked as to his opinion as to
the works Of Casella, Malipicro. Pra
tcIla and the others, he responded en-.
phatically:
Their work is not music at all. Ii
Is as bad as possible"
Not Enough Care Taken
He believes that the modern writer's
are putting their compositions. before
tho public too early. Hc SAWS that
there are number of promising talents
among the French younger composers
who have not yet found themselves.
What their ultimate tendencies will ne
h" Will not now predict, but SAYS that
they have the merit of sincerity, which
he il rather inclined TO question among
some of the younger composers of other
countries, who are apparently writing
to astonish rather than to make music
which they themselves consider rcuII,
truthfully Tin the artistic scnsc) and
beautiful.
NJ. dIndy has been in the United
States about n month. During that time
he heard tho opera '"rhc Dead CITY,
by korngold the young Austrian com
poser, whose works created a sensa
tion before the war, and of whom creat
things We're expected. NJ. d'Indy wa,
disappointed in the opera, he said nj.
though he was commenting on tn,
tendency of composers to write for tht
public before they had thoroughly founC
their meter.
II had been told" he said. "that
Korngold was a pupil of Richart
Strauss. and naturally I expected tC
hear something in the Strauss idiom
But j was mistaken. What I hear,
was Il bad Puccini and bad Leon
cavallo. There is little of rcn
promise of a creative talent of Il higl
, order, as shown by this opera"
Praises United States Orchestras
The great French composer was en-,
thusaStic about the American orchps,
+ traS.
They are fully equal to any il
Europe, he declared. THE Philadcl
+ phia, the New York symphony an,
' the Philharmonic OF that city, the Ros
t ton and the Chicago Orchestras are or,
, ganized. They have drawn the bes
| laying talent from all over thch world
\ and 1t Is no wonder that they take ranl
G with the very best Of Europe"
In speaking of the program wblcl
nc viii conduct here this week. Nj