Evening star., 1948-03-21
Public Reaction
To Music Sets
Its Standards
By Alice Eversmon

Whatever the professional critic
may say, the ultimate criticism OF
musical performance remains
with the public. Through Its In
dividual opinions the worth of an
artist or composition Is establish
ed and attested by repeated attend
ance at performances. Yet with
the final judgment left to the listen
er, 1t Is strange how seldom he per-
forms his duty. 1t Is not after q
concert but during performance
that he must express his reactions
and 1t Is here that native kindliness
often avoids the responsibility.
To Judge from the applause,
every presentation is fine and every
artist Is . success. There is no
way to gauge the feelings Of an
audience by Its reception Of work
or q performer. On the surface,
this Is splendid thing but 1t is no
assistance to the one who has pre-
pared a program and hopes to
have some idea of how it appeals to
discriminating listeners. When the
applause is all OF one kind, he will
think either that he is much
better artist than he thought him.
self to be, or, that he has the type
Of audience that will be pleased
with anything.
Artists Feel Their Rating.
Performing before the public
cultivates sensitiveness to peoples
reactions. The artist senses the
calibre Of those listening to him
and adjusts himself accordingly. In
his heart, he may know he is doing
inferior work, but II he can get by
with 1t, what difference does it
matter? Another, knowing the
musical standards of his audience,
either will make 1t easy for him.
self by choosing a second-rate pro-
gram that requires little effort or
he will be on his toes to give Of
his best.
The American concert public Is
very polite. It Is considered bad
form to interrupt symphony or
concerto by applause after some
Most conductors dis
courage such demonstrations and the
audience bows to an established GUS
tom. But. except when the con-
tinuity of q work is disturbed. It
would not hurt at all II the listeners
were so moved that they could not
restrain themselves from applaud
ing. A little more of the enthusiasm
that wells up because something
stirs to the depths would greatly en-
hance the enjoyment Of a program.
Criticism Often q Shock.
Artists of all kinds work very hard
to analyze and project music accord
ing to their lights. Sometimes they
fail completely. sometimes they sue
ceed only partially. But they must
know the extent Of their accomplish
ment If they are to improve them
selves or develop some individual
slant. After a concert in which
they have presented has
been acclaimed to the same degree,
1t must be discouraging to read ad-
verse criticism in the newspapers.
They should have the cross-section
judgment that an audience supplies.
Recently there has been a great
deal said about the programs given
here by the National Symphony. No
one could surmise tnat such crit
icism existed from the applause fol-
lowing each number. Never Is there
any GOODNESS in the reception and
certainly never any outspoken dis
like. Occasionally, shouts of Bravo"
mingle with the handclapping and
there is no mistaking that the
music or the, performance appealed
in special manner.
It would do us all good to be more
articulate in our concert reactions.
No one would be put down as a
barbarian If he were so transported
that he stood UP and shouted, nor
would he be considered cruel II he
expressed disapproval. A more def
mite public attitude would stimulate
the whole process of music making
and give it the glow and the warmth
it deserves. Both the public and
the artist would benefit. Music Is
an emotional art and should so be
received. Yet If the public for
whom it is presented has only one
way of expressing its opinion, it be-
ng