The Washington times., 1935-12-28

When one looks at fine paint
ing, the separate brush strokes
and color markings are not
singled out as the elements of
beauty, but rather the whole gen.
eral effect which is the result of
each Of these details.
The orchestra may speak in the
mereSt whisper or again in the
deafening crash Of thunder. 1t
may speak in a voice Of utmost
sadness or sparkling gaiety.
But with all forms of express
sion, unity is the essential element
without which it would be nothing
but confusion.
The orchestra as unified
single instrument must be guided
and directed by one intelligence.
A conductor must be able to inter
pret by means of musical symbols
what the composer wishes to con-
vey to the listeners through the
medium of the orchestra.
Inspires Confidence
knowledge of music and inStru-
ments is not alone sufficient to
make successful conductor. He
must have personality that in
spires confidence on the part of
the musicians in the orchestra
and Showmanship with dignity
that attracts the listeners.
In conveying his ideas to the
orchestra, the first element is
rhythm.
If one watches a conductor, the
basic elements of the time beats
may be readily understood, al
though some conductors seem to
try to hide the elementary move
ments. The right hand. usually
graSping baton, gives the
rhythm.
A decisive downward movement
is the usual signal for the first
and accented beat of a measure.
If there are two beats to the meas
ure, the first beat is the down
ward movement, the second, the
upward movement. In triple time
with three beats to the measure,
the first beat is indicated by the
usual downward movement, the
second by right horizontal move
ment, and the third by the up
ward movement.
Four beats to the measure are
indicated with a downward move
ment for the first beat, up and
left horizontal for the second
beat, right horizontal for the third
beat, and upward for the fourth
beat. Other time beats are more
or less a variation of the three
mentioned.
When the conductor wishes to
signal for loud phrase, the right
hand swings over a wider arc, the
left hand may help with an up
ward clutching movement and the
head and facial expression may
aid. A soft passage is indicated
by a shorter movement of the
right hand, the left hand extended
palm down, and the proper facial
expression.
Feeling for Music
A conductor, in order to properly
interpret the wishes of the COM
poser, must feel the message of
the music as if he were actually
singing or playing it. This feeling
for the music is expressed to the
players Of the orchestra by each
conductor in manner the details
of which are peculiar to his in
dividuality.
Can a successful conductor take
training to play upon the orches-
ira as an instrument without him.
self learning to be an artist upon
some one instrument?
It would hardly seem possible
for a conductor to direct an or
cheStra composed of so many vary
ing instruments without consider
able first-hand experience in play
ing one or more of these inStru-
mentS.
A conductor, in order to know
just what to expect from each in
Strument, should have played upon
at least one representative instru-
ment Of each family. This does
not mean that he is expected to be
an artist on a number of different
instruments; such a thing is
physically impossible. But a per-
forming ability sufficient to know
the possibilities and limitations Of
each instrument is highly desir-
able.
No person can be considered an