Evening star., 1936-08-01
Bv Alice EverSman.

A COMPLAINT that is often
~ heard at this season Of the
~ year, and especially since
4 \ orchestral concerts have be-
come a part of Summer entertainment
in this city, has to do with the heavi-
ness of symphonic music as hot
weather fare. What many people are
willing to accept on programs when
the thermometer tends toward the
zero mark appears to be too trying
when the same thermometer scars
upward into the COS. Why this
peculiar idea persists is hard to under
stand
Music, even Of symphonic nature,
belongs to no particular season, time
or place. 1t is no easier to appreciate
In the Winter nor less enjoyable IN
the Summer. In fact, the Summer
time provides the proper conditions
in which music can be better assimi-
lated and understood. In the Winter,
when the ordinary cares of existence
assume greater proportions, it might
be claimed that listening to SYM
phonies and works OF symphonic
caliber puts an extra strain on the
mental and nervous system, already
preoccupied with other necessarily I'M
portant matters. Whether one plans
for it or not, the warm weather brings
about a relaxation both physical and
mental. an ideal state in which to
allow great music to seep into the sub
Sonscious.
ITO BE sure, the major part OF a
Summer audience is composed OF
fewer real music students or those
who follow music with particular serl-
business. A great portion Of the public
that visits such concerts as are being
given at the Water Gate go because
they love music without much applica-
ton toward mastering 1t, and seek
diversion under refreshing conditions
during an enforced stay IN the city.
There is no reason why they should
find a major orchestral work less suit
able and enjoyable than continuous
series of the lighter and more enter
tanning compositions.
The question Of symphonic music
IN Winter versus the same in Summer
goes back farther than the mere ques-
ton of weather. 1t really revolves
around the queer idea that seems
rooted in the American mind that one
has to have special tendencies in his
nature to make him appreciate that
tvpe of music. If such an attitude
could be overcome the great musical
gifts of the American people would
blossom out to a. rare Towering.
It cannot be reiterated too often
that book knowledge, so to speak, or
q particular strain in ones tempera-
ment or an actual acquaintance with
the science Of notes, keys and tempo
and their relationship has little to
do with appreciation Of music. 1t
might almost be said that too much
knowledge of these things lessons the
degree of enjoyment, because the ten
dency to analyze is ever present and
insists on intruding itself.
RLESsED, indeed, are those who,
- knowing little, yet learn to love
and appreciate the greatest master
pieces in their own individual way
And to arrive at this ideal state re-
quires no effort, only a willingness 70
lend ones self passively to the power
inherent in noble musical thoughts.
Rarely does music fail one who shows
this willingness toward it. Unobtru-
sively and in the gentlest manner. 1t
finds the way to the spirit and leaves
o gift of inestimable preciousness.
1t is not necessary to be able to
catalogue the impressions or to dis
course learnedly on ones reactions.
All that is needed is to assimilate
something each time. no matter how
vague the first results may be, and
to keep that something bright and
living in the inner recesses of the
soul.
The only difference between SYM
phonic music and the lighter variety
is the point of time required to digest
1t. Melody and rhythm please in
stantly, but of themselves leave but
q passing impression. The great or
chestral music, concertos, operas and
lieder, products of great minds and
souls, deposit bit of their greatness
at every hearing in the hearts of the
listeners, and there 1t lies, gaining In