Evening star., 1946-10-20
|Rubinstein
Set Precedent
'In.'45COnCert
Avoided Programs
By Announcing
Each Selection
By Alice Eversmon

Artur Rubinstein, who gives his
only recital of the season this aft
ernoon in Constitution Hall, caused
considerable comment last year,
when for his Carnegie Hall con-
cert he dispensed with a printed
program. and announced his num-
bers from the stage. This Is not
exactly a new practice. Long ago
the great Feodor Chaliapin turned
book of songs until he found
what appealed to him and then told
his audience what il would hear.
Perhaps others have done the same,
but Rubinstein has been rather
consistent in this practice, having
used this method in Paris, Madrid,
Buenos Aires, Sydney and otLer
places.
As was to be expected the reac-
tion was both favorable and un-
favorable. 1t in no way interfered
with the enthusiasm, which rose to
fever heat, or to the very real
pleasure the artist gave his lis
teners. But there was much to be
said in the newspapers and among
those present as to the advisability
Of such an innovation. The most
conclusive summary was made in
the New York Times when Olin
Downes wrote: "The moral Of the
recital is Mr.. Rubinstein can play
what he pleases."
Obstacle to Artist.
That, in part, had to do with the
Polish pianist's decision to an
nounce his numbers. He explains
1t as "my discovery by long ex-
perience of the fact that pre-
arranged and printed program
tends to become heavy obstacle
to the mature and free artist for
the best expression of his art. Fac
ing an audience from the stage, we
interpreters possess a sense of fine
perception of the climate of the
hall, OF it's acoustics, of the always
different qualities of the piano
placed at our disposal, and last but
not least of our own state of in
spiration. and yet to be aware of
all this becomes of no avail If we
are compelled to play compositions
which are unsuitable for the occa- =
sion merely because they are an
nounced in print long before"
One easily can take exception to
this reasoning and many undoubted-
ly did. In the first place, no artist
is compelled to play what was
first announced and changes of
numbers are often made during the
program. The effect on the public
Is not always of the best for there
may be disappointment at hearing
something other than what was ex-
pected. Then, too, many people go
to hear an artist mainly because of
the program, interested in his in
dividual presentation of certain
works. A famous artist has his own
drawing power but the program has
something to do with it.
Program Settles 1t.
Then there is the question of being
in the mood and being influenced by
the type of hall and its limitations
Part of an artists training has to
do with making him capable of CIV
ing a good performance no matter
how he feels and of putting him in
rapport with his music at any time
Halls and pianos vary in every city
and are things to be accepted, If
they cannot be remedied. When an
artist plans his program, it is as
sumed that he chooses what. he
would like to play and that he has
spent enough time in preparation to
settle his ideas about a composition
so thoroughly in his subconscious
mind that automatically he can call
it forth again.
There is an agreeable suspense In
not knowing what a program will
be and sometimes the choice of the
moment may be most rewarding
But mostly people want to know
what they are going to hear and
often that decides whether they will
60 at all to the concert. It is, how
ever, a dangerous precedent to estab-
lish, for only an artist of Mr.. Rubin
STEMS exceptional gifts could de-
liver the goods to every ones
tefo o{;nx,