Evening star., 1934-12-02


critics and public alike was the in
dividuality of his artistic sense and
his courage in choosing original meth
ods of presenting it. Sure and vigor-
GUS in his ideas as we'll as in his
mechanics Of directing, he demon
strated at once that here was a per-
Sonality strong, different and mature
with something new, refreshing and
great enough to more than match the
luStrous work of the celebrated con-
ductors to whom alone has been in
trusted the direction of the famous
Philharmonic. More than that, he Is
an American who, leaving his first
essays in this country, won real fame
as both composer and conductor in
Italy, Germany, Hungary. France,
Latvia and Finland. In the latter
country, when conducting an all-Si-
bellus program, the composer himself
paid Jansen high tribute when he
said: For the first time I am hearing
my work exactly as conceived it, and
my compatriots have never really
known me until now"
AS a nation we have often been told
that in order to become productive
nluSically we must have musicians who
depict national life and feeling. The
correct incorporation of these quail
ties in a national music by means of
native color and rhythm has been the
pride of our neighbors across the seas.
To the American artist who has been
compelled to acquire a foreign out
look, If he would properly interpret
the music Of the various countries. it
has sometimes been extremely diff
cult to grasp properly the national
viewpoint. Our composers for the most
part have been led into imitation in
their attempt to write in a German,
French or Russian manner.
We have been told also that from
q national standpoint we have had
very little to give to the world,
musically, speaking. Knowing our
background Of real physical labor, our
phenomenal success financially and
the meteoric growth of our country,
1t has generally been accepted that
we were nation too occupied with
the fascinating business of earning
money to cultivate the mood neces-
sary to create art. Europe has only
grudgingly admitted that an Ameri-
can interpretive artist could equal its
own and has been still more cautious
In accepting American compositions
To them America had no foundation,
no background, nothing of value of
the kind to be immortaliZed in music.
Now comes young man, IS years
old, thorough product Of American
life and education, with an early ca
reer formed in the lighter field of
American music, who in the short
years he has spent among the critical
musicians of the older countries has
been able to win their respect and
admiration not only with his own
performance of standard works, but
for music descriptive of his country.
Apart from his talent, his career in
this country was of the same type
started by many other young Ameri-
cans.
Although early showing an un-
usual ability which at the age of 8
won him piano scholarship, he
found his father, owner of a chain of
restaurants in New York City, op-
posed to his seriously making music
a profession. His sympathetic
mother, who was his first teacher,
took him to Europe hoping to turn
his attention to other things to con-
form to his fathers wishes. How
ever, she permitted him to study with
Arthur Friedheim. Then he returned
to enter Dartmouth College and to
write music for the college shows.
When he finished school he studied