Evening star., 1949-03-13
Encore Haters
Justly Deplore
Cute Numbers
By Alice Eversmon

A letter last week to the New
York Times. written with tongue
In cheek perhaps, announces the
formation of a new society to be
called the American Association
for the Abolition of Encores, Espe-
cially Cute Ones" Following the
practice that has become uni
versal in the last years the title
will be reduced to the letters,
AAAEECO. The protest is lev
eled particularly toward the type
of compositions played at the pro-
grams end and when three
quarters of the audience have
donned muf1er. coat and one
glove and are about to retrieve
their hats from under their seats. ~
Be that as it may. and wishing
all success to the new organiza-
ton with which we personally are
in sympathy. the question of en-
cores has become quite a problem
If an artist does not give any, the
public is dissatisfied, If he be
generous and willing. he is i'm
posed upon. Furthermore, the
entire impression of the recital is
often affected by the trivialities
played at its end. Many COM
posers. although few with i'm
mortal names. make a practice of
writing airy nothings that sound
very fetching to season the heav-
Ter repast that made up the pro-
gram.
Singers Offend Most Often.
Singers especially are prone to
descend the artistic scale in Sc
lecting the encores which the
AAAEECO defines as attempts
to achieve at once coyness and
euteness in q musical work by a
surprise ending" Perhaps more
rapport Is established between
artist and listener with these
lighter numbers. but it has been
the case often that people attend.
or rather, endure. q recital in
hopes that the encore will bring q
favorite number heard over the
radio, In the movies or in a popu-
lar recording. And also as often.
the artist is willing to oblige.
When attending q concert by q
renowned artist. people expect to
hear some Of the worlds greatest
music given some special slant in
Interpretation. A serious and lofty
atmosphere is bound to be en-
gendered during the hour and a
half of listening to a superb per-
formance. It is something of a
comedown when a period of pure
entertainment follows with the
encores. It is taxing for the artist
also who has had physical and
mental demands made on him for
that period. Naturally, now that
the real chore is over. he may en-
Joy just playing whatever will
please. The impression left by the
encores, however. many times OBJ
uterates that Of the recital itself.
Theme Level Should Be Kept.
A great deal Of thought is given
by the artist to the arrangement
Of his program. There must be
variety Of keys as well as Of mood
in the list and these must be
dovetailed 80 that the transition
Ia smooth. It is something whole
that he presents to the audience.
Encores should conform to the
general plan and contain the same
contrasts. There should be no sud-
den change to mediocre level
just because they are encoreS.
While the length Of recital pro-
grams has decreased through the
years, the short list now often set
forth and the number ef encores
given at the slightest encourage
ment. would make 1t seem a def
mite plan.
The new organization believes
that "the artist must determine
the type and length Of program
and must be permitted by the
audience to adhere to his deci-
sion" adding that THE AAAEECo
will protect the artist and take
potshots at audiences"
Geza de Kresz, violinist. and
Norah DreWett. English pianist,
will give an interesting sonata re-
cital in the Phillips Gallery this
afternoon at 5 o'clock. The artists
will present two unfamiliar works,
one dating back to the middle OF
the 18th century, the other a mod
ern American work by Marion
Bauer.