Evening star., 1932-11-27

than the majority OF OrcneSIT
leaders. He figures it out-a mu-
sical education, much confidence
and strong right arm-what
more is necessary? He may ad-
NIT there are a few super-con-
6uctors, but he believes they be-
come so because of some unusual
talent that happens once in a
lifetime.
Many a listener at orchestral
concerts wonders Just how much
the conductor really has to do
with the success of the perform
ance. They see a man waving
his arms in various gestures, and
apparently none of the orchestra,
busy with their playing, paying
the slightest attention to him.
They see a need for him as a
reScuer in a moment Of uncer-
tainty, but to all appearances the
playing is the thing and the con-
ductor but secondary. He IS an
orchestral ornament or at best q
substitute for a n1etronome.
It seems plausible to many that
group OF trained musicians
should be able to interpret the
composition by following the
marks of expression without di-
rection. It would have been pos
sible had composers adhered to
the simpler forms of composition,
but today music has become so
complex that orchestral inter-
probation of it has become a one
man Job. 1t nas passed entirely
out of the domain of ensemble
playing by number of good mu-
sicianS into the hands and
broader understanding of Spe-
cialist.
It is he who uses the orchestra
as his instrument modulating it
to his pleasure. His specialized d
talent has diSsected the compost
ton, graSped its possibilities and
formed them into whole. He
must have an understanding Of
all instruments and know what
demands he can put upon them
and he must have the authority
and magnetism to control and in
spire his men to do his bidding.
Conductors must nave all
qualities of an ambassador. q gen.
eral. painter and a poet" writes
Henry Hadley. well known Ameri-
can conductor. The ratio OF
these qualifications to each other
is not given nor can their i'm
portance be considered in the
order they art put. 1t is possible
that, with a trained body Of men
to work with, a conductor could
succeed with the two oualifica-
tions Of painter" and poet" but
even under these ideal condi-
tions. neither the diplomacy at
tributed to ambassadors nor the
commanding ability of generals
would in themselves suffice
There is a fifth ingredient neces-
sary that marshals the other four
to the front-that Of individual
ity.
The essence of this last essen
tial has been brought into the
spotlight this past week with the
first appearance Of the Philadel-
phia Orchestra under the direc-
ton Of Leopold Stokowski. It was
the first opportunity of compari-
son with the National Symphony
Orchestra and the leadership of
Hans Kinder.
In both conductors the quality
of individuality is present to a
marked degree. On each end of
their balancing board of am
baSsador, general, painter and
poet" sits intellect and emotion.
It is the weight of their oppoSi-
ton that lifts their individuality
higher through the control of
their respective ends. In Sto-
kowski it is intellect, in Hans
Kinder it is emotion. In Sto-
kowski it is the mind directing the
emotions, in Kinder it is the emo
tions vivifying the intellect.
In one it is the ripe Sureness
of maturity and in the other the
equally sure belief of youth.
Stokowski's mind is clear and
dominating and his mobile hands
are as full of meaning as a ma
gician's legerdemain. 1t is the
artists creative hand and the
warmth Of emotional conviction
that is the power Hans Kinder
uses.
Not only is this evidenced in
their generalShip Of the orches-
ira, but also in their role of
painter" and poet" The mathe-
matical precision of detail and
the logical progression of effects
is the background that brings out
the rich, glowing pictures the
Philadelphia conductor is able to
paint. AS poet he needs the epic
form to give room to the define
alton Of his ideas. In the paint
ing Kinder does, the details are
opportunities for Opulent color
end logical progression the means
of contrasting high lights and
dim shadows with q broad touch.
Ee is a poe5 who sings in vivid
phrases full Of the fire and Joy
of living.
The imprint Of individuality is
also seen in the method used to
instruct and controk the musi-
clans. Stokowski, ignoring the
stiff metrenomical beating, uses
his hands to make small pictures
for his men to follow. An open
ing of the fingers, a lift of the
hand, sweep of the arm and the
force of his clear mental pic
ture is made plain. With Kin
dler, it is his projected artistic
personality that carries the in
Spiration and the hand of q
soloist, knowing how each effect
is to be procured, that indicates
and draws out what he wishes
from his men.
Washington is fortunate to have
a musician directing the Nationa
Symphony Orchestra who car
stand comparison with the great
est conductors, and dominate By
force OF his personality and in
dividuality. This argues great
things for tho