Evening star., 1932-11-06

of the violin" Frank Gittleson, for
mer pupil of Auer and Flesch, has been
a concertiZing violinist of note and has
been heard in Europe and America with
most Of the famous orchestras and sew
eral others among the violonists are
artists in their own right and by pub
lie acclaim. 1t is the same in the other
divisions Of the orchestra, the brass
and woodWind being especially REIN
forced this year. Even with this good
organization. the three rehearsals per
program which the budget now allows,
is very little for the preparation of such
programs as the Russian one given this
week or for the smooth rendition Of the
graduated effects in a composition like
Respigni's pines of Rome" After all,
these men have not been at the SYM
phony orchestra business all their
lives. playing and replaying the same
numbers and it is to their glory that
they have been able in such short time
to reach the standard they have at
tanned
In considering program making, it is
interesting to note the general leaning
in the programs given so FAR by the
various orchestraS in the big cities.
The contention of the value OF modern
music versus the old still goes on. The
first announcement of the Philadelphia
Orchestra at the beginning Of the sea
son that only recognized standard works
world be given brought forthwith
vigorous protest from the modernist and
no peace was had until place was
found for at least one modern compo-
Sition on each program After some
controversy, the directors gave in grace
fully with the announcement that they
were entirely sympathetic with the idea
but hoped the conductor will place
reasonable limit upon number Of such
compositions" The New York Phil
harmonic and the Chicago Symphony
have SO far confined themselves to old
favorites although they number among
them such names as the First Sym
phony" of Brahms and the overture to
Tristan and Isolde which in their day
were considered as ultra-modern as the
jungle" of Werner Josten which was
the Philadelphias first offering. 1t is
also worth noting the subjects that in
spire our modern composers, If we
Judge by the names of the compositions.
Honagger's Pacific 23l" is familiar to
all as the locomotive immortalized in
music sister locomotive puffed its
way onto the stage with appropriate
orchestral accompaniment in Kreneks
Jazz opera, Johnny Spielt Auf," was
produced at the Metropolitan couple
of years ago. This week was heard the
Iron Foundry" by MossoloW given by
the National Symphony Orchestra. In
october. Frederick Stock directed the
Chicago Orchestra in the performance
of Traffic" tone poem by Carl Ep-
pert, one of the winners OF the N. B. G.
contests. The Boston SYM
phony gave Carpenters "SkyScrapers,
y,in a
"Grotesque Dance" from projected
ballet by Burrill Philips and an I'm
suite" by Herman Rudin.
1t seems that the birds and flowers and
zephyrs which were the inspiration OF
composers a few years ago have def
nitely been discarded.
**
FOLLOWING the example of the
= Philadelphia Orchestra, the Phlla-
delphia Opera Co. has declared itself on
ne side of modernity. 1t has closed its
& oors for this season in order to pre-
pare for a new life as a haven OF
drama with music" Mrs. Box, chair
man of the board. says: I'VE are just
at the beginning of a new era in music.
We do not plan to destroy the old
works but rather to present them in
a new way which will be acceptable to
our modern age" At this same mo-
ment, San Francisco is rejoicing that
it has stolen a march on other cities in
the United States and is the first to
have ! municipality owned opera house.
Incidentally, Washington will again
have taste of grand opera on Novem--
Der 20 and 81, when Alfredo Salmaggi
returns with his newly baptized Chi
cago Opera Co.. which recently gave
several successful performances in Mil
vaukee. Mr.. Salmaggi was responsible
tor the out-of-door performance OF
Aida" and III Trovatore" which were
given in the stadium this Summer.
The operas will be produced at the
Auditorium this time A.E.