The Telegraph-courier. [volume] (Kenosha, Wis.) 1888-1946, 1924-03-06
However, Comma
By JAMES W. DEAN.

or an orchestra leader? This writer
has long entertained the notion that
they are merely for decorative purpos-
es insofar as public performances are
concerned. He remembers the broad
flourishes of Vessella who seemed to
require two batons to properly express
himself And Kryl who appeared to
create music by shaking his leonine
head.
Then there was Kunwald, leader of
the Cincinnati symphony. He really
seemed to control the movements OF
his players Prussian and military in
bearing, the men under him seemed to
be drilling rather than playing music.
EStokowski looks to be at the head of
his orchestra merely as a symbol of
the high social position a symphony
orchestra occupies in the life of a
community.
John Philip Sousa always seemed to
this writer to be completely detached
from his players. Victor Herbert,
leading an orchestra playing his own
compositions, always seems to be apol-
ogizing for having put himself in a po-
sition to take whatever credit is due
him.
This writer does not understand vet
why Paul Whiteman stands in front
4 of his orchestra. He starts. his men
playing by stamping with his heel,
then allows them to play on as they
have rehearsed.
+ Of course, these are the observations
Il of a casual attendant at public con-
certs. In the March number of the
American Mercury" D. w. Sinclair
discusses the talents of six orchestral
| conductors under whose leadership he
! has played.
/ Sinclair says "the quality most nee
essary to a good conductor is simply
| the ability to inspire his men-to lift
them out Of the boredom that follows
too much music, and fill them with
enthusiasm"
Joseph Stransky was able to hold
the leadership of the New York Phil
harmonic for IL years largely through
his social charm and personal clever
ness. according to Sinclair. He also
| possessed a mock-heroic magnetism
that wins large audiences.
Sinclair believes Henry Hadley, as
sociate conductor of the New York
Philharmonic, is an able musician but
that he falls short of being great be-
cause Of his instability before his
| players.
Of Damrosch, the writer says that
| he is able to present little more than
technically proficient readings. He is
| of the opinion that Damrosch's claim
/ to distinction lies in his ability to step
down from the stand to play the piano
1 and in his touring Of the country as a
missionary to the musical heather.
Arthur Bodansky is an idealist, but
/ fails to get from his orchestra the
power, musical intelligence and SUI
perior, possibilities it contains. That,
according to Sinclair.
Pierre Monteux, now finishing a
four-year term with the Boston Sym
phony, is conductor of elasticity and
variety. Sinclair says he has found
hearings for more composers than any
three of his colleagues. He has bet
ter ear than any conductor except
Mengelberg and his limitations pro-
coed from the fact that he cares more
for the music than for the perform
ance.
Willem Mengelberg is "undeniably
the greatest of all men now conducting
orchestras in America" says Sinclair.
He is the ne plus ultra of drill mas
ters; his knowledge of orchestral in
struments and effects is microsopical-
ly complete,
Elsie Ferguson remains the most
magnificent courtesan Of the stage in
.@The Moon-F Hover" If that is her
ambition she sis secure in her attain
ment of it. III this she is helped con-
siderably by an elastic corset and a
master in the#art Of henna-ing hair.
Sidney Blackmer, Miss Ferguson's
leading man, " terribly miscast. He
| Is supposed % be SO brave, SO ro-