Evening star., 1939-01-15

sessions at the Academy of Music
four hours we sat there, as still as
a mouse in spite of a torturing de-
sire to sneeze, and marvelled at the
patience of Eugene Ormandy and
the members of the orchestra in their
anxiety to achieve perfection in
every phase, and at the end of that
time but a small portion of the
scheduled program chad been salts
factorily disposed of.
The stage of the Academy of
Music has special setting arranged
to aid the acoustics of the hall for
the orchestra's concerts. Ceiling and
walls are completely covered by in
conspicuous drops that narrow and
descend from the front breadth of
the stage to shortened space at the
back. The members of the orchestra,
whom you will see elegantly ap-
pareled when they come on to Con-
stitution Hall stage at their next
concert here on January 81, were
hardly recognizable in their working
clothes with coats off. In the center
of the group was a high stool, a
music stand, another with an i'm
portant red light on it, and large
clock prominently in view near at
hand.
When every one had gathered and
was busy with tuning of instru-
ments, Mr.. Ormandy appeared. also
without coat, his tan shirt open at
the throat and wide enough in the
back to allow of plenty of arm
movement After greetings and the
exchange of a few pleasantries, he
climbed on the stool, gingerly test
ing it's stability. Then, arranging
his score. whose loose pages can be
turned without noise, and placing
the clock in a direct line of vision.
he held up his hand for silence
while he explained desired effect
In phrase here and there to
whatever instrument it is intrusted.
When these preliminaries are fin
ished, he turns toward the dark
ened hall and calls out, Are you
ready?" Any inclination to take
this as personal was dispelled when
a voice from nowhere answers Yes
in somewhat sepulchra1 tones. 1t
is then, for the first time, that we
note the large microphones hang
ing from the ceiling several feet
from the stage. A deathlike silence
falls abruptly, and tensely the or
chestra waits, Mr.. Ormandy assum-
ing pose resembling that of the
discus Thrower" as he watches the
little red light under his appraised
arm. Suddenly buzzer sounds, the
red globe shines, signal is given
by the conductor and the orchestra
begins to play.
With beauty of tone and wonder
full artistry, the orchestra performs
ss exquisitely as in concert hall,
Mr.. Ormandy inspiring it with au-
thoritative directing. The sound
mounts in glory as the music pro-
crosses until, the hands of the clock
having accomplished the allotted
time coinciding with the ending of
a proper phrase, the music stops,
bows are held high in the air, every
figure, including that of the con-
ductor, is immovable, until suddenly
the light vanishes. Then turning
again to the black void of the hall,
Mr.. Ormandy says, -Four twenty
exactly" and again the sepulchral
voice demands, Can you get 1t down
to four temp"
Agreeing that this is possible, the
conductor starts the whole per-
formance over again. Once more
the waiting for the magic red signal
and the orchestra plays again with
the same infinite care, ending in
that frozen quietness until the red
light releases it. Then, Weirdly, an
orchestra plays from out of the air,
repeating what had twice been per-
formed on the stage-the playing
back of the recording. Eager at
tention is registered in the real
orchestra, while Mr.. Ormandy, in
expressive pantomine, indicates that
here more accent should be given or
there more of a legato be main
tanned. Going through the whole
procedure another time, and the
result is finally satisfactory to the
director.
That bit accomplished, brief
rehearsal is held of the next meas
ures to be recorded and Mr.. Or
mandy inquiries of that unseen per-
sonage, "How's that, Charlie?"
Perfect" comes the answer and
everything is again set for the
buzzer to sound.
With supreme confidence, the
orchestra continues the number,
but only for few seconds, for Mr.
Ormandy waves wildly and with a
Sorry flung to the supervising
genie who is only voice, stops the
recording. The violins were not
sharp enough in their accents. it
appears, and 10 times at least they
sound the two or three notes, guided
by Mr.. Ormandy's vocal exhibition
of how it should be played.
Everything in order now, they
start once more, happily progressing
until those somber tones above in
terrupt with Can 1 have that mea-
sure again?" The red light is shut
off and the phrase played several
times, and at its conclusion the
voice says, Can I be sure of that
time?" to which Mr.. Ormandy gives
promise by a very positive, 1T will
not vary half a second"
The recording moves smoothly for
a while, with the red light switching
on and off, and the same routine of
statue-like repose following its in
dications. But suddenly in the midst
of glorious passage, where a wood
wind had performed a thrilling run,
the last note is blurred, and collaps-
ing into an attitude of utter regret.