Evening star., 1952-11-09
News of Music

The conducting art is one
branch of music that has de-
veloped with amazing speed
during the last half century.
While instrumentalistS and
singers have been part Of the
musical scene continuously. or
chestra conductors are COM
parative newcomers. It was not
too long ago. as history goes,
that leading a group Of inStru-
mentalists was in the hands Of
the concertmaster or the per-
former on the harpsichord.
Now there has grown up a cult
Of conducting that has both
good and bad points.
1t resolves itself into the age
old controversy as to the rights
of a performer to interpret
music from his personal view
point rather than following
what the composer has set
down. This has always been a
bone Of contention but it came
forward again in greater force
with the arrival of strong mu-
Sical individualities in the con-
ductive field. The tremendous
potentialities of the large or
cheStras of today have tempted
men to use their imagination
for a more complete exposition
OF music Of symphonic caliber.
In consequence, a class of
conductors emerged which has
been instrumental in awakening
a more universal love for
symphonic music throughout the
country. They did this by exer-
cising the glamour of their per-
Sonality in conjunction with new
interpretive ideas. They caught
the fancy of the public and it
became willing to listen to the
music. For many people, the
orchestra suddenly took on
greater meaning and they began
to see much not previously ap-
parent in the more orthodox
readings. This is one of the good
things accomplished.
Conductors Hove Duol Purpose
The late Frederick Stock,
former conductor of the
Chicago Symphony, once said,
that "their intentions are con-
fined not only to the read
ing of the score but also
to conveying the idea to
the public that their individual
1ty is so strongly pronounced
and developed that it may rise
above the Interpretation of the
music itself. the merits of
which they seek to overshadow
or minimize through display of
personal grandeur and the
dominating force of per-
sonality." # this is true then
1t has not lasted. MendelSsohn,
first, and later Wagner started
the leaders of orchestral groups
to thinking, and it is not
to be wondered at that
the discovery of their own
talent and aptitude would de-
velop certain eccentricities. A
hundred years ago, all that a
conductor sought was accuracy
from his players.
Now that the public has been
intrigued by personalities on the
podium, there is a trend to ana
lyze their contribution in terms
of musical values. Every real
musician resents the distortion
Of tempt or interpretive effects
simply for personal idea and
without respect to the COM
poser's instructions. Seeking to
penetrate conScientiously those
instructions has become the aim
Of the great baton wielders
today. A variety Of opinion
is bound to exist to some extent
but music, and especially it's re-
creation, is not static. Each
conductors thinking is condi-
toned differently, depending on
background, education and the
way his mental processes have
been trained.
II personality intrudes today
In conducting. it is because of
the forceful emanation of ideas
from the leader as a result Of
his directing technique. Hand
some figures and graceful ges-
lures are not the rule among
the outstanding conductors but