The daily worker. [volume] (Chicago, Ill.) 1924-1958, 1933-12-28
Appointed Professor
in Moscow Music
Conservatory
BY EDWIN RoLFE

WA~~AN SS4 BSl IbstOa41lShy dNI1FGQ IL
w New York from the Soviet Unior
a little more than q month ago, his
avowed purpose was to popularize, at
concerts before audiences Of workers,
the many new Soviet songs which he
found during his recent stay in the
U.S.S.R. Both he and Marie Radam-
sky had been travelling into many
out-of-the-way spots OF the workers
and peasants republic, adding TO
their rich stores Of musical knowledge
and skill which have won for them SO
great a popularity among the thou-
sands of workers who have heard
their recitals in American cities.
Sergei Radamsky arrived in this
country with an added honor-he had
been appointed to the post Of Pro-
fessor of Vocal Art at the Moscow
Conservatory Of Music. This is the
famous school whose history glitters
with the names of Tchaikoyslky,
Scriabin, 1ppolitov Iyanov, Rach-
mani1ioff and o score Of other i'm
mortals Of the world of music which
Russia produced before the Revolu-
ton.
When l spoke with him recently,
the amiable and slightly rotund tenor
sparkled with pride at his new APP
pointment, his professorship at the
Moscow Conservatory. But the insti-
tution's immortals had nothing to do
with this pride, as discovered after
only few minutes of conversation
with him. 1t was the deep sense OF JOY
that Radamsky felt at having gained
the affection and esteem of the Soviet
workers which brought the glow to
his face, the enthusiasm with which
he informed me of his professorship.
"To be a professor in a capitalist
country would have meant that I
would have to spend much time with
pupils who are often talentless, but
whose sole qualification list hat they
possess the means with which to pay
for musical studies. But to be q pro-
fessor of music in the U.S.SR.--that
means you are helping the most
gifted of children and young people
of the entire country-in a land
where song is deep and indigenous
and significant, where they sing not
only at play but at work"
Radamsky described his stay in the
US.S.R., his numerous appearances
before factory audiences. What they
| (the Soviet workers. loved most" he
declared, were our American Negro
work songs and spirituals."
Appeared With Lsngston Hughes
Once, he told me, he appeared
jointly in recital with Langston
Hughes, the American revolutionary
poet whose stay in the U.S.S.R. COIN
cided in part with that Of Radamsky.
Hughes read poetry to the workers
and sang the poetry to them. Marie
sang Scotch, Irish and English folk
songs and ballads"
81 came here with real speed" he
confessed, American style. My last
concert in Moscow was on October
%. At 1890 I was still on the stage
singing a last encore. And half
hour later I was on the train, all
ready for the trip to Berlin. The audi
ence got to the railroad station by
IL o'clock, in time to give us one of
the most splendid farewells I have
ever received"
Before Radamsky left the Soviet
Union, just after his farewell appear
ance, a representative Of Gonetz (the
Government Booking Concert Bu-
reaW presented him with a contract,
asking him to return 10 the Soviet
Union soon for series Of recitals
throughout Russia.
81 signed it without reading &C." the
tenor told me.
Plans so Concerts in U.s.S.R.
When he returns to the Soviet
Union, he will start ON a concert
tour, during which he will give sixty
recitalS. In the summer he will be
given a two-month vacation. "At the
sea-Shore and mountains, 1t will be,
with first class accommodations.
There will be no worry about man
ayers stealing receipts and lying
about profits, profits, always prof1tsl
Imagine that in the United Statesl'
he added.
These concerts will be given mostly
in Moscow, with others in Baku (cen-
ter Of the Soviet oil flelds), Tif1is, and
Leningrad. These will be given at the
regular concert halls.
learned from Radamsky that
workers clubs and factory groups
send representatives to public con-
certs, and if these chosen represen-
tatives of the workers find the artist
satisfactory, he is invited to appear
before the factory. 1T Is considered
the highest honor in the Soviet
Union" Radamsky informed me,
''for an artist to be invited to sing at
factory concert halls.
Responsive Soviet audiences
@But aside from the honor" he
continued, there is something even
greater. You know how difficult it is
for artists to secure real, understand
ing and appreciative audiences?"
l assured him that writer's and art
lists here in America knew these
difficulties only too well.
EITHER they are highbrow and
anaemic- lin their artistic response,
mean--or they go to concerts be-
cause they feel 1t is the thing to do.
That is, in capitalist countries.
But in the Soviet Union this is all
changed. Because the audience one
has at q factory concert Is enthuS-