Evening star., 1939-03-13
BY CECIL HOLLAND.

MUSIC lovers OF washington will
have an opportunity tomorrow night
to hear one of the great con-
ductors of all time. On that date,
Arturo Toscanini will conduct the
National Broadcasting Co. Sym
phony Orchestra in concert in Con-
stitution Hall. 1t will be his final
concert before sailing for England,
where he will conduct the British
Broadcasting Co. Symphony.
Appearing here with the noted
conductor will be probably the finest
assembly Of musicians ever brought
together. They will represent nu-
merous countries, but the center OF
attention will be the slight, graceful
figure Of the Italian artist, Toscanini.
The name Toscanini has come to
be associated with what is nearest
perfection in music. It is because
the man himself in his concerts Is
never satisfied with less than per-
fection. That yearning, that striv-
ing, that search for mastery in the
realm of music, which most nearly
finds expression in the concerts he
conducts, has marked his long and
distinguished career as a conductor.
Substituted for Conductor.
He became a conductor by acci-
dent, but it is no accident he mas
attained the position of one Of the
worlds greatest. 1t has been by
sheer, eXhausting work ever since
he made his first public appearance
as a conductor at the age of 10 in
Rio de Janeiro.
Born in Parma, Italy, March Is,
1867, he was graduated with highest
honors from the local conservatory
He went to Rio de Janeiro with
Claudio Rossi's opera company as a
celllst. The company was sched-
uled to present Aida" as its first
performance. Just before the cur
tain was to rise, the conductor, in
a sudden pique, refused to 60 on
A substitute was hooted and jeered
from the stage. Finally, in despera-
ton, members of the opera COM
pany hoisted the young Toscanini to
the stage.
There was sudden hush. The
audience possibly was amazed at his
youthful audacity. No one knew
that his sole experience as a con-
ductor had been with the conserva-
tory orchestra. However, the audi
ence sat up and began to pay at
tention when the youthful musician
closed the score in front of him.
Conducting without a score was
something unusual So was Tosca-
minis conducting if one might judge
from the applause which greeted
him at the end Of the first act.
Not the least remarkable thing
about Toscanini is his phenomenal
memory. Unlike other conductors,
the score in front of him is always
closed. Even when he conducts such
a long and complicated opera as
Wagners "Gotterdammerung" he
does not refer to his notes. Some
have attributed this to his near
sightedness. To read a score he
must hold it close to his eyes. His
friends, however, say the real reason
is that he can keep his eyes on
members of the orchestra and con-
troll the instrumentalists who are
depending on him for direction. He
knows each part perfectly.
Knew Players Part.
On one occasion, a biographer
Paul Stefan, relates, a double-bass
player came to Toscanini during in
termission at performance. The
man was crestfallen. my E string
Is broken, sir, and I have no means
OF replacing 1t" The conductor was
silent. MY string" the man
began. Toscanini broke in. Its all
right. Don't worry. I've just been
going through your part and you
don't need that string any more to-
night"
Last season at rehearsal of the
N. B. c. orchestra, he stopped his
men in fortissimo passage, point
ed to the bass clarinet and asked
why he was not playing. II have
nothing to play" the man an
sWered. Il have only rests in part"
But that is impossible" said
Toscanini. "You are to play an
octave lower than what the clarinet
plays"
And Toscanini opened his score,
looked up the passage and verif1e1
that he was correct.
Toscanini does not spare himself
or his players in rehearsals. He
sings, he implores, he cajoles, he
commands, until at last the forces
under him respond as one to his
will. He is as quick to correct
prima donna as he is one of his
players. Once, when leading So
prano persisted in making the same
mistake over and over again, Tos-
canini made what WAS for him a