San Antonio light. [volume] (San Antonio, Tex.) 1911-1993, 1923-09-09
Musical Europe Under Shadow
General Retrogression Abroad Since 1914 Gives
u. S. the Lead.

: curate forecasting. The one cncour
aging element is the unflagging de
termination of those who interpret
music to hold on. There are festi
walls; the modern composers turn OH
plenty of new manuscript; the popu
lace cries out for its music and otter
makes sacrifices TO pay for hearing it.
Thus, while conditions are trying
the stoutest hearts, the steadfastness
of Germany's music purpose remains
undimmed. She will come back, nc
doubt about il.
As in Italy, the Split OF nation
alism pervades the music perform
ances of France. Her composers and
their supporters cry for French COM
positions. and there have been occ;l-
sions when both press and public
1 Joined in efforts to reject all that was
not. There are indications, however,
of broader attitude; indeed, it is al
ready manifest in the sphere of opera.
where the bars are practically all
down.
The concert room is beginning to
find a greater number of foreign mu-
sic works on the programs, also may
the listener discover in the identity
of recitalists musicians other than
French. This pertains mainly to Par
is. which is the music center of
France and the one city wherein
genuine musical breadth really pre-
walls. For in few other communi-
ties do concerts attract audiences suf-
ficient TO justify competent artists to
either sing or play.
Paris has plenty of concerts and re-
citals in the course of long season:
symphony program by the Lamou-
reux and Colonne orchestras (neither
of which are great; chamber music
affairs. and miscellaneous undertake
ings of various sorts. Yet here, as
elsewhere in Europe. the absence of
superlative accomplishment is too
marked thing. Mediocrity thrusts
Its head so constantly above the mu-
sic waters that one is moved 10 in
quire if it is not exerting an un-
fortunate influence upon the discrim-
ination Of the people.
Neither the Opera nor the Opera
Comique can boast of casts in which
the principal singers are of old time
worth. A few shining exceptions lift.
now. and again, some part of per-
Torrance to an excellent plane: but
the orchestras need better players,
and a few conductors of the caliber
of the half dozen Germany is for
tunate in having would work, no
doubt, an amazing change.
As for creative music talent France
seems momentarily in the grip of
young modernists. who, arrayed in
groups, appear upon the horizon. at
tract attention for a time. and then
less attention.
Italy and Her Opera.
Whenever Italy is mentioned mu-
sically our thought turns operawards.
We know all about Sgambati, of Res
I plghIs orchestral works. and Of those
written by other italian composers.
of whom Casella is one. We know
rather better the scores of Verdi and
Puccini, and the host of singers who
have braved the Atlantic t. put opera
firmly upon our map. So it is of
opera that we think when Italy
comes into our musical discourse, and
not without warrant. For concert
music abounds no more freely than
in the PRECINCTS of its neighbor,
France, just across the border.
Just at present Italy is suffering
from an operate semi-eclipse. If
Ioscanini were not there to preserve,
with Director Scandiani. the prestige
! of Milan's La Scala the tale might be
even sadder to relate. Fortunately
Toscanini's conducting genius still
holds; an Scandiani supports him in
his insistence for rigorous rehearsing.
Wherefore. despite a scarcity of first
rate principal artists. Ia Scala man
ages to uphold part of the prestige
OF an institution which now. more
than ever. represents by far the best
Of what Italy can boast in this line.
1t might be different were the Ira
nearer par. But it isn't, and despite
the country's improved prosperity the
people appear less inclined to spend
money for opera than in the days
prior to the devastating World war.
The Costanzi, at Rome, offers COM
mendable performances Naples also
has them, and Turin. Trieste. and n
few other Italian cities. They are NOT.
however, OF that quality which the
country once knew. Nor is il easy To
discover a prophet willing to chance
predicting when a change may come.
United States Music.
Contrasted with what an single Eu-
ropean nation now offers unsteady,
the United States looms like the Eff
fel tower over the gardens below. One
must omit opera in this considera-
ton; we are still, save for the three
permanten organizations having es-
tablished clienteles, unable to main
tain companies as do the cities of
Germany, Italy and France. Spain
surpasses us in this respe t. and even
smaller countries can boast several
permanent organizations which.
through state or municipal subsidies.
continue their ways, year after year.
But in the realm which transceuds
the less pure music of opera we ex-
Gel. Not creatively; our country is
relatively young, and our COMPOSERS
have no such traditions or encourage
ment or opportunities as those of Eu.
rope enjoy. Our sphere is interpreta-
tive. and in it we are supreme.
From the year 1914 the United
States has leaped musicall forward.
No other nation maintains as many
first rate symphony orchestras. or can
point to an annual record Of copcar.s