Evening star., 1947-05-11
Music Criticism
Is BY
Keen Observers
By Alice Evsrsman

~ kbs 1AAAAOA48 Ss3S GtSCAASAe - - = -
eminent English novelist, J. ~.
Forster, the American composers,
Roger Sessions and Virgil Thomson.
Hdgar wind, professor Of philosophy
IL Smith college: Olga Samarcn.
pianist and educator: Paul II. Lang,
editor Of Musical Quarterly; Otto
Kinkeldey, mtsicologist, and Humt-
ington Cairns, secretary Of the
National Gallery Of Art. The music
critics, Oliu Downs Of New York. and
Alfred Frapkenstein Of San Fran
cisco, presided at two OF the sessions,
the opening one having - CHAIR
man, Archibald T. Dawson Of the
Harvard department Of music.
The stimulation Of keen minds
viewing 4 subject frem different
angles was felt throughout thd
three-day meetings further en-
liyened by wit and grace In oratory.
The most serious minded Of the
speakers were the musicians and
this fact revealed rather important
point for 1t would seem that the
musical artisan Of any kind lets the
cultivation Of q gracious and witty
appraisal Of his art and his attitude
toward the world suffer IN his con-
centration on his work.
value Of Trained Appraisal
One Of the essentials that emerged
from all Of the speeches was the
value Of trained appraisal over the
unframed, which, according to Mr..
Forster, seldom penetrates beneath
the surface" But from the trained
observers opinion can be sent OUT
winged words which send US on TO
examine the original" Mr.. Thoni-
son, who is . critic as well - .
composer, found that q layman had
no need to accept or even TO be
fair to an artist OF, . composition
whereas the professional had . duty
to society to provide 1t with
proper analysis.
In his opening address Paul II.
Buck, provost Of the university.
substituting for President Conant.
emphasized the fact that music has
penetrated deeply into American
lives and has grown to such propor-
tions that writing about 1t becomes
q major esthetic duty. This fol.
lowed DR.. Dayison's explanation Of
the symposium as something Of an
adventure and one that raised ths
question as to the amount Of inter.
est in the subject.
Mr.. Sessions felt that the critic
was the composers collaboration ana
that he must have an understanding
Of his time and trends. While no
insisted that special technical ell
fects should be considered. the pri-
yate affairs Of the composer ana
therefore his craftsmanship need
not come into consideration, the
main objective OF the critic was TO
discover what the composer had feit
and whether 1t was communicated.
Aspects Of Appreciation.
Some very beautiful thoughts
were expressed by Mr.. Foster. who
found that there was o spiritual
parody between critics and creators.
he described that latter's processes
as sending % bucket down INTO the
subconscious to bring something up
Ito mix with actual experience" or
the finished product, the creator
wonders how on earth he did 1t but
actually 1t was not done on earth.
a. critic ought to remain always
startled before masterpiece, main.
tanned Mr.. Forster, and should
combine experience with innocence.
tBei.lg an amateur in music meant
love, he asserted, and this should
impeu all consideration OF an art
work.
one of the most inspiring talks
was that Of Dr.. Wind. whose wide
and thorough appreciation and un-
derstanding were expressed IN poetic
prose. He found the power Of Q
rreat work OF art terrifying and that
a subconscious fear Of being over
come and swept away was ever
present In face OF 1t. A new work
enters into battle the minute IT Is
put forth and It's influence will in-
trude into daily life.
Exchanges Of Critics Proposed. ;,
These broader scaled views Of
criticism elucidated It's scope ana
resident potentialities as understood
by men who In their respective fieids
were creators. It's more mondain
aspects were more clearly perceived
Iby Olga Samaron, who brought out
/ its commercial value to musical pro-
lmoters and statesmen. "Its eject -
Immediate" she said, "and can mean
life or death to the performer" She
propounded several remedies for the
present state Of criticism, one OF
which was the exchange Of critics
between cities 80 that greater de-
tachment from the local music life
could be reached.
Dr.. Lang, also professor OF mu-
sicoiogy at Columbia University, iri-
troduced the one scathing note In
the sessions by sharp criticism OF
critics, en1phasing the constant need
Of further education on the part OF
reviewers. Mr.. Kinkeldey looked
into the future when he spoke on
the consequences of the Recorded
Performance" to the day when SCI
ence will devise a means for ths
composer recording directly his work
| in the manner In which he wishes
| it to be heard. What "The Future Of
Musical Patronage in America
promises to be was q subject on
which Huntington Cairns could give
little hope. Only indirect patron
age" could be expected from ths
state and private patronage by
wealthy individuals Is over" The
tax structure, he declared, would
be the influencing factor in com-
mercial sponsoring.
All these ideas were exhileratine
to the seekers after truth, as most
of the 100 critics present must have
been. However, nothing new was
said that they did not already know
and constantly bewail. Their inn
mediate problems were not consid.
cred, except In the rebuttal talk by
IOlin Downs at the last session. Mr.
Downs. knowing of and suffering
from the restrictions placed by cir
[cumstance upon the critic, could
hardly contain himself during ths
lerudite and poetic appraisal Of his