Evening star., 1934-01-14

leCtef lIOm teOISS CIlcSCO w -
marizes the things q musician Sh(
Of being incorporated in the guidi
and private studio.
Yehudi, about whose appearance tn
Rome on December II, comes the re-
port that the "auditortum roared and
applAuded for half an hour" after his
performance Of the Paganini urtext
concarto, and who Will play at Con-
stitution Hall In February, has put this
1ssssf ,,o on his foFeasn s ram. HIS
placed him In the foremost rank OF
great artists today In q manner in
dependent Of his great natural gift and
facility for the violin. Mr.. Enesco
writes IN this way:
my Dear Friend:
"In all compositions, the personality
and intentions Of the composer should
be borne in mind. It is necessary to
read his biography, to carefully note
tho traits Of his character, to know
what his work meant to him and what
he wanted it to mean to humanity and
the world In general. Absorb his ideas
and sentiments and, having absorbed,
try to communicate them to your
well as you know how, in favor Of the
work presented, allowing the ideal Of
the composer to speak for itself.
ITO know q composer, one must not
only know his biography but also know
the majority Of his compositions. Com
pare them with each other and place
them In q proper interrelation. One
must also familiarize oneself with the
epoch in which he lived, the trend Of
thought of his time and his relation to
It. as In the case Of Beethoven, who
stands unique
TT Is only by having all these re-
sources at hand that one can hope to
be certain to have touched upon his in
tentions. The reading of the history
OF music. its evolution and the influence
which individual composers exercised
upon 1t Is essential. Consult several
histories Of music, since some are in
complete, some again viewed from too
personal an angle. Compare and make
your conclusions.
Tn all events, when presenting q
work, while underscoring the inten-
ttonS OF the composer without exagger-
alton, keep intact the eSthetic side Of
the composition, It's proportion Of
movement and nuance. Build the COM
position as you would build q monu-
ment, having foundation, q body
and q top which crowns all. Take
care to make the work alive, plain, ex-
pressive and persuasive. Be enthusi-
astic and clear minded. Play a great
deal Of chamber music and learn the
laws Of composition. Bear in mind in
spite Of what I have said the spon-
taneity must be preserved intact. Do
good work. dear friend, always in the
direction we both love.
"Your old affectionate friend.
GEORGE ENESCO."
TIE inappropriatsness Of jazz on pub
= lie school programs except for
dancing was q subject Of comment by
Dr.. Barnes at q recent meeting Of
school music teachers. A protest against
the inclusion Of such music was made
by Dore Walten, for az years instructor
Of orchestra at Mckinley High School,
and read at that meeting by DR.. Barnes.
Mr.. Walten says: ..
ITO q musician Jazz is decomposed
music. When the newspapers refer to
this Jazz age they mean everything
that Is undesirable In this postwar
period, such as the crime wave, the
kidnaper, the gangster, etc. The public
get far too much Of 1t IN the movies
and on the radio. Jazz would not be
made q feature. however, on the pro-
8Iau ~ gatherings VI utcluSent people.
I contend that there Is plenty Of lively
music suitable for every kind of an
assembly without resorting to jazz
This can be provided by any inde-
pendent group of students or by the
regular musical organizations, the Boys
Gless Club. the Girls Glee Club, the
band or orchestra"
What Mr.. Walten advocates is of ex-
treme importance, for If the best music
IS not brought before the students in
school, how can the work done by
serious musicians in their effort to
elevate the standard Of appreciation Of
music bear fruit?
The use of jazz, it is to be hoped, is
. transitory affair and q present mo-
ment Of original musical expression.
Tho emptiness and unproductiveness of
Jazz In musical development has been