Evening star. [volume] (Washington, D.C.) 1854-1972, 1931-10-21

"No" - the pianissimo has been a
fortissimo TRY again." They try
again without success. "Ah, now,
what's the neutrality-suspicious. you can't
see?"
Yes-that's 1.-THE oboe player can't
see He's in some sort Of shadow.
He is moved. He says it's better. They
begin again-but it isn't.
"No-no-no." Perhaps it wasn't the
light.
Time Out for Violins.
But Mr.. Kinder goes on. All is Sc
rene after q minute with the oboes. But
the second violins
"Eye-yigh-jeye!" cries the conduc-
tor, scratching his head with his left
hand.
I'VE want tone. Beauty Of tone.
Don't scrape-don't saw" and he shows
what he wants with his two hands play
ing the invisible violin in the air. He
only the beginning. It's just gentle
Gliding. After all. it's the first time.
They play on. Kinder looks one min
ute like some sort of spirit snatchlng
inspiration out of the air, the next like
a genii weaving spell, the next like
prizefighter-jaw set forward, frown on
his brow, wrestling his opponent to the
death. His men watch him closely.
Most of them are sitting on the edge
of their chairs. They are playing 100
eagerly; there is little "lagato"-too
much excitement in their bowling. one
cello is having a rough time OF IL; a
man in the back row OF the VlollnS Is
a whole beat ahead of time; the Sousa.
phone has begun its deep "put-put- put. "
They change to BeethovenS Fifth.
Then suddenly Kinder is sitting back
in his high-chair throne. His arms are
at his side.
He is saying, "This is no speech. Just
a few words to say how glad am TO be
here and how glad am to see you mere.
I hope we will have very happy time
together-we should. After all, we are
ali of us musicians and as such we are
working for a single ideal-the loeal
of beauty-beauty of music, beauty OF
tone"
He talks in a low, conversational way.
He speaks of what he hopes they Will
do. of his ambitions and of theirs. 1t is
a speech of the artist at heart and the
true idealist. It is, too, very friendly
speech. It should warm them into do
ing their utmost.
"All right-intermiSsion."
Outside the cigarettes are lighted.
The music is rehashed. Kinder well
comes some of the men whom he hasn't
welcomed before He speaks German,
English. perhaps little Dutch. He
seems highly pleased.
A three-hour rehearsal. When they
begin again they are really rehearSing.
Kinder is now taking them over the
Jumps. He starts. he stops. he scratches
his head in anguish, he Tolls back in his
chair, he groans, he means, he sings
some of the music, "bump-a-bump,
pup-pup- pup-pup-yah (there is usually
a yah somewhere about. He stamps
he roars: he cries There's something
not completely kosher here!" He beats
the stand in front of him. Watch out;
put a mark there. a deaths head. a
traffic signal-anything to brighten you.
All right! Come on-lotS of CUTS
keep it clean. Don't Scrape-don
saw. They're paying SO a seat. They
want the best out there"
Play Together Now.
On 1t goes-on they go-on-on-on
and after three hours they're still
playing. It's a grand sound now
Tschaikowsky's March Slav." They're
getting together. They are together
The oboe has found himself-the Sec
ond violinS have discovered a legato
the cellos are all in time. the drum is
pounding away, the horns are blasting
out.
1t is over Thank you, gentlemen,
Kinder mops his brow. He has q
happy, tired look. THANK you again
very much. All right"
Kinder looks down at the orchestra
pit behind him. A baton lies there
Aye, yes, he had forgotten. In g
brusque moment he had lost control Of
one of his batons-just before the in
PERMISSION it had slipped out of hi:
hand and gone over his head. He
must remember after this to hang onto
his baton.