Evening star., 1934-02-04

Wltll 1So op "a SS2eiSAS
Beginning with the first of these
habit at symphony concerts of inter-
rupting the continuity of a compost
ton with applause. When conducting
an orchestra or in solo performance,
the artist is immersed and absorbed in
what he is essaying to give out For
him there is a gossamer thread, strong
in its visibility but delicate in its
nature, running unbroken through
great work. He is following it eagerly,
concentrated on not looslng sight OF 1t.
and feeling his power of expression
growing as it leads him to greater
beauties. At the end of a movement of
concerto, perhaps, when he Is
jealously holding the resplendency OF
his idea, as developed so far, to add
1t to the one to come, he is torn from
his rapt contemplation in order to
acknowledge applause. If the tragedy
resulting sometimes from such an in
terruption could be realized and what
the audience has lost thereby. it would
be enough to hold in check an un-
necessary exurberence.
VI ~ 40 llOU llCICSSdlJ W ChDl COO
approval of the Interpretation of the
individual movements of a symphony
or concerto, which should be judged
In their relation to the whole and not
as separate performances. No greater
compliment can be paid to the con-
ductor or artist playing composition
IN several movements than to remain
quiet during the slight intermissionS.
While disturbing the thoughts of the
artist. it also distracts the thoughts
of the listener who is making dis
coveries of his own while following the
music.
The good manners of an audience
u evidenced by being already in its
seat by the time the concert is to be-
gin Late comers, whenever permitted
to enter. are annoying to others, and
much of this can be avoided if little
care be exercised. How many times
has 1t been necessary for the con-
ductor or artist to wait until the tardy
are seated, adjusted and finally set
tied down. Such late arrivals cause
. ripple like the pebble dropped into
Q pool of water, that affects the sur
rounding territory. 1t is but courteous,
also, to wait a short moment if pos
sible after the end of the program to
thank the performer with appropriate
applause rather than rush hurriedly
from the concert room.
If an audience is to become muSi-
cally discriminating it must culti-
vate understanding A disheartening
example of audience unpreparedness
was the unfortunate applause that
interrupted young singer in re-
cent opera performance in the middle
of the aria on which her claim to
artistry rested. Had the major por-
ton Of the public acquainted them
selves partly with the action and story
Of the opera this would not have
happened. Also if new composer is
worthy of being placed on a conscien-
tious artists program better judg-
ment of his work can be arrived at if
. little time be taken to learn of his
biography and method of writing
With this as a foundation truer
estimate of the artists Interpretation
can be formed. 1t must be remember
ed that when an artist appears pro-
fessionally it is because he believes
himself ready for expert criticism He
virtually says that he has prepared
himself with proper study, has per-
fected himself technically and has
something new and original to say
musically that is worth listening to-
Sometimes the idea the artist has of
his work and the idea the audience
gains is by no means the same. After
all, it is his power Of projection that
counts, not what he feels CT believes,
but cannot express. A discriminating
audience has a duty toward an artist
to tell him exactly what impression he
makes. His future career may be in
fluenced by it. either that he work
still harder to develop himself or that
he be encouraged to continue to strive
for greater perfection by which. in
the long run, that self same audience
will benefit most
And, finally, there is the need Of
being hearty in approval when such
Il merited. No one, who has not ex-
perienced 1t. can picture the inspira-
ton and the uplift that is born in the