Evening star. [volume] (Washington, D.C.) 1854-1972, 1948-01-11
Contemporary
Music Needs
.Prehearings
BY Alice EveHmon

A very denn1te step toward en-.
Tightening both musicians and the
public as to contemporary music
was made some four years ago when
Artur Rodzinski inaugurated read
ing rehearsals by the New York
Philharmonic of manuscript scores.
Attendance was by invitation. ale
though any one making request
could obtain ticket. Last winter
the composer, Norman Dello Joio,
tried another scheme by inviting
composers to meet with their pros.
|pective interpreters to become ac-
quainted in an informal manner. He
had composers and pianists. COM
posers and violinists. or singers ~
needed, for coy get-togethers to
try out music and talk IL over.
These were constructive efforts for
q better understanding Of what Is
being accomplished In the creative
way in this country. Such plans
could be adopted in every conmu-
nifty with most helpful results for
all concerned. It Is not fair to
composer, interpreter or public to
give one hearing of work and let
it 60 at that. So much is involved
in the way of expansion Of the old
musical idiom that its reason or its
effect cannot be judged without
more complete knowledge by those
concerned In making a concert sea-
son.
Concentrated Effort Needed.
Many artists have taken up the
cause of contemporary composers
and their output and made every
effort to acquaint the public with 1t.
This is most praiseworthy and al
ready some Of the reluctance toward
accepting the new has been broken
down. But 1t is not enough. One
new work sandwiched in between the
old and familiar on a program has
little chance Of registering as strong
ly as 1t should. An entire evening
Of new music also defeats the end
for 1t is firing to listen to and the
absorbing faculties cannot remain
alert. Both Of these ways Of pre-
senting new music, however. are but
passing gestures rather than the
real concentrated effort that is re-
guired.
Music in all its details does not
linger In the mind with the sams
clarity as . book or a play. 1t Is
gone in q fash and only q vague
general idea remains unless some
one acutely interested In its con-
struction Is listening avidly. It Is
not correct to condemn or acclaim
q work on one hearing and without
study. The artist who presents 1t
has made this study and Is con-
vinced Of its value, but the public Ii
seldom in the same happy state.
U. s. Talent Championed.
This country has reached the
point in its musical development
when serious consideration must be
given its own creative talent. The
splendid attempts at its champion
ship made by Koussevitzky by How
ard Hanson during the festivals at
Eastman School, by individual artists
and conductors and, most notably,
by Richard Bales, each March, with
the series presented In the National
Gallery Of Art, are in the right d.
rection and most commendable. Yet
the concert public and the mrisi-
clans need still more.
With so many people vitality inter-
ested, why could not such reading
rehearsals be ir1augurated IN this
city? Some could be undertaken by
the National Symphony, but many
more. and less extensively, by indi-
vidual musicians, particularly piar1-
lists, Of whom there are many Of out
standing talent. Occasional evenings
Of performance and discussion with
out admission fee and without crit
ical comment would be most con-
structive. It would be labor Of
love with . charitable intention.
Not too much work would be in
volved. for 1t would need only &C
curacy In reading, with all the finer
details Of Interpretation left for later.
1t will do the present public no
good and certainly not the composer,
to wait for posterity to decide the
worth Of his creation. Not only
could the composer SAVIOR the fruits
Of public recognition, but music
lovers in general would be kept, In
stride with the times while broad
ening their outlook and putting
away their preJudices.