Evening star., 1951-09-16

There is a tendency today in
music to do away with tradition.
While this tendency figures prom
inently in new departures creation
of music has taken, its applica-
ton in the Interpretation Of mas
terpieces is being widely advocated
lately. Those who seek to dis
pense with tradition argue that
the forward march of music is
being held back by too great
regard for outworn ideas and
preSent-day exponents of music
should bring to its presentation
the flavor of these times.
The most startling example of
the new trend was the staging of
Wagnerian operas at the revived
Bayreuth Festival this summer.
In this stronghold the grandsons
of Richard Wagner produced their
grandfather's works in an entirely
new guise. At the Metropolitan
innovations in staging other
operas were already adopted this
past winter in an effort to increase
their appeal. These and other
similar departures offered excel
lent excuse for an airing of views
pro and con on the subject of
tradition.
Opera Up to Date.
The need of bringing opera up
to date has been felt for some
time. 1t is one portion of the
musical art that can stand mod
ernizing in production and in act
ing. Since it combines the visual
with the musical in great proper
ton it should be made to satisfy n
both respects. 1t is different with
instrumental, orchestral or vocal
presentations as well as with
chamber music. Tradition in these
fields cannot be wholly abolished.
New approaches and the impact
of original thought can freshen up
old masterpieces as has been
proven by successive generations
of interpreters. 1t does not follow,
however, that the special at
tributes of modern thinking, ap-
piled to the Interpretation Of
music of another era, would be an
sr1a n1d
There is another meaning to the
word tradition than that of trans
mitted practice. 1t is IAN inherited
culture or attitude" 1t recognizes
that manners and customs, as well
as the intellectual slant, are part
of an age and must be respected
as such. Music reflects these things
and. while it is flexible. lending
itself to the interpreters individ-
uality, the fundamental atmoS-
phere must be maintained. The
classic composers mirrpred their
era in their works and the par
ticular points that stress it cannot
be overlooked in modern per-
formance. 1t is the duty of in
terpreters of any generation to un-
derstand and to emphasize the
character of period that goes
into every composers work.
A New Perspective.
Most proponents of the scrap
ing of tradition are impelled by
another reason. 1t is simply that.
born in this very modern age they
have neither the patience nor
the interest to submit to the
special training that is essential.
The composer Isadore Freed
brought the question into the
open in a letter to the New York
Times some weeks ago. He COM
planned: Performers sometimes
expend much effort in trying to
recapture the original flavor of
the music they play. aiming for a
certain kind of authenticity. But
they are less than successful in
these efforts because they are
looking at an older period through
a new perspective-that of their
own times"
The new perspective should not
be hindrance to the understand
ing of old music. On the contrary.
1t should lend an impetus to a
desire for investigation, that is,