Evening star., 1933-01-01


~ the unknown. This un-
4 n avoidable part OF our des-
tiny must cause thoughtful peo-
pie to pause and ponder over
those days so full of striving and
desire that are gone never to re-
turn, and invariably the thought
aSSailS one: What has the old
year had that was of value? The
big outstanding events 1mmedi-
ately spring to consciousness ano
the years value Is measured IN
their terms. The good that lies
In little things is overlooked.
The year that Is gone Is ricn IN
little things rnuSically that are
of deeper significance and OF more
widespread Importance than one
realizes at the first glance. It Is
especially noteworthy for the gen.
eral attitude toward music. 1t Il
a sort of a honey attitude, ar
acknowledgement that it belongs
to us, and there is a more per-
Sonal interest in what is being
done with it. Not only is there
a truer leaning toward music, but
a more investigating attitude as
regards our own music and 8
concentration on its development
that exceeds that of other years.
With the failure OF material
things to stand by us and be all
suficing during the past year
comes an understanding that
there is a compensation to be had
in the cultivation Of an art that
never fails and Is inexhaustible In
the riches 1t has to offer. The
realization has also grown uni
versally that this art need not be
the property of a chosen few, but
that there are ways OF making 1t
accessible to every one.
The Music Teachers National
Association, which has just fin
iShed its convention in this city,
has not only made this evident,
but has brought to light the
many activities that are working
to the greater good. The steady
development in the various de-
partmentS of music has been car
ried on without great fanfare and
the results are astonishing in
their value. The problems that
have held us in bondage these
many years are receiving the eX-
pert attention of the especially
trained, and it will be safe to say
that in a short time the layman
will be more music conscious than
ever before.
One of the most valuable points
was brought out by Harold Bauer
in his talk on Amateurs May Be
Musicians" He stressed the fact
that it was not geniuSes we
needed, but more good general
musicians. To bring music into
our personal lives irrespective of
degree of talent is the duty that
confrontS not solely musically-
minded individuals, but the public
citizen who has the good of the
country at heart. There must be
more music study If we are to
be more understanding, and the
amateurs in the country must
develop their musicianship to be-
come the discriminating judges
that encourage endeavor. This
IS especially needed at the mo-
ment, when the radio, which pro-
vides so much that is educational,
is taking the place of the indi-
vidual effort at music in the aver
age home. Half an understanding
is gained by listening and wider
appreciation through any at
tempt, no matter how feeble, at
doing it oneself.
Herbert Witherspoon touched
on the next sore spot of our mu-
sical life when he spoke or
"Grand Opera and It's Immediate
Problems" at the second session
This subject has been argued back
and forth for many seasons ano
as yet nothing drastic has beer
done about it. Recently, when
the Chicago Opera passed COM
pletely out of the musical pic
ture, Edward Moore, musica,
critic Of the Chicago Tribune
urged that something be done
about saving the Civic Opera" He
suggested that the need was
modern stagecraft, modern scenic
ideas that will Danish outdated
overStuffed ideas OF the past.
Thus he would hold our restless
attention with the appeal Of the
new and different. He also claims
it is easier to finance opera today
than four or five years ago and
asserts that a season not only
satisfactory, but artistic, can BIZ
given at about one-fourth of the
cost of the past seasons" The
reason for this striking cut is
that times have changed"
In all of these suggestions Mr.
Moore has not touched on the
real source of trouble, and thil
source was given special empha
sis by Mr.. Witherspoon. The fac
that times have changed in tn,
financial sense alters only hal
of our attitude to grand opera Il
any appreciable degree. Our in
difference goes deeper than that
1t Is true that opera has alway
been the plaything Of society, in
volVing more expense to go I
hear 1t than the mere outlay 70
seats. Rarely have we been abl
to hear the operas in the com
fort that permits concentratiol
and real enjoyment.
Opera directors claim that
cannot be produced interestingl
at less expense, yet opera on II
native soil is kept going year i
and year out on a small percent
age OF the outlay here in America
opera singers and directors VIII
were content with a nominal sal
ary and happy to work hard t
earn it in their own country i'm
mediately feel that crossing tn
Atlantic entities them to an in
crease of several hundred pc
cent. To provide the proper set
ting for such luxurieS, expensiv
scenery and costumes are neces
Sary. So the circle is complet