Evening star., 1941-03-16

the musical knOWleQge OF the NatlC
For Mailer, like his teacher Brucknt
by symphony conductors. although
musical appreciation in this country
at the Metropolitan Opera and at
at the same time of director of the
New York Philharmonic Society. In
fact, it was while conducting the
47th concert of his third season in
the latter capacity that he collapsed,
dying a few months later. He Suf-
fered all his life with a struggle
against poverty and also from the
slow recognition given his genius,
as many composers are doing today.
Composers and the public are at
the mercy of the artists who are
the best drawing cards of any muSl-
cal season. 1t has long been the
custom for composers to seek to
interest conductors or solo artists
to give a hearing OF their works,
The hope Of having some one whose
sponsorship Immediately stamps
composition as having musical value
take up a new work and so present
it as to make the public notice OF
its author is the only resource OF
the unknown but gifted creator OF
music.
Public Has No Choice.
The public has practically nothing
TO saw about what it will hear. 1t
goes to a concert and is compelled
to listen TO what is programmed un-
less it is courageous enough to pro-
test in some outspoken fashion. 1t
is only consulted when there are
request" programs, such as con-
clude the season of the National
Symphony Orchestra. Otherwise 1t
may find itself hearing the same
thing over and over again or 1t
may find itself so entangled with
new works that it loses the real
esthetic enjoyment it expects from
music. Of course, programs are an
nounced in advance and any one
not liking what is in the list may
stay away, but when season tickets
for series are taken long before even
the artist or conductor knows what
he will play, the patron must take
what he gets and like 1t or not as
the case may be.
However, when there is leader
in a community who understands
the musical needs of that community
and is sincerely trying to combine
the best of the old with the best
of the new as DR.. Kinder has tried,
reliance may be placed on his Judg-
ment. 1t is only when there IS a
bias in one direction or another that
the public will suffer. Pressure may
be brought to bear in some way and
an artist is almost compelled to pre-
sent work that he himself might
never choose. Then, too, the artist
or conductor who has had long
public career is bound to tire of the
same numbers and to try to keep
his own creative faculty alive by
playing new works. The listener
NAV not share this view, but he must
hear the composition whether he
will or not.
Never Saturated.
The general music lover is never
saturated with repetitions of the
old masters There is special
feeling of qualification that comes
from a growing familiarity with
work. but in order to arrive at that
it must be heard many times. There
is no end to what an artist and
conductor can discover in music
that he has performed time and
again if he be an earnest seeker !
toward greater understanding. So
that unless a work has more ban
altv in it than intrinsic worth the |
artist and the public will be in &C !
cord when it is programmed. True |
musical education stems from con-
slant hearing of the best of the |
music literature. and as the princl-
pal aim of artists and orchestral
concerts is not so much entertain !
ment as cultural gain. no decided |
departures from standardized pro-
making will please for long
There are many other symphonic |
works like Mahler'S that remain |
unknown and which might prove OF |
great value viewed from the mel |
lowing point which the years have !
brought since their first hearing. |
American composers especially de-
serve to have their creations reSur-
rected and reviewed again with the |
same interest that is being &C |
corded some of the modern Euro
pean writer's who many times have
desecrated the aim of music. There |
is this much to be said for the |
American composer: That his Gre
ative life" has not been formed |
and directed by the communal taste |
and will of his countrymen" and
that he is not absorbing bold, new
political theories from the very air
he breathes" as is said of one mod
ernist writer.
The public is willing and anxious |
to become acquainted with the new
while still studying the old. II
artists and conductors would rec
ognize to a proper degree the rights
of the paying public to determine
in a measure what it desires to
hear there would be general salts
faction with what is being pre-
sented. The reception given the
Mailer work on Wednesday proved I
that.
q To1