Evening star., 1954-12-12
News Of Music

Werner Lywen. concertmas-
ter of the National Symphony,
is q musician, who. when he
tells you his first love is his
violin, murnblas a bit sheep
ishly "Of course, there's my
Nsifea If.a situation arose In
Mhich ne felt that he had to
profess his paramount affec-
tio1 for his wife. he would t1n-
doubtedly apologize to his
Viflce1izo Jorio.
This attachment is so strong
that itsaas kept him from ac-
cepting offers Of conducting
posts, although he is trained
at the baton, and likes 70 con-
duct.
Most musicians, however
great artists they IRE on q
single instrument, entertain a
secret Or open desire to stand
on the podiurn. None of the
apparent drawbacks Of the po-
sitiol Of conductor 1.-The more
limited repertoire, an instru-
1l1ent that is as imperfect and
Heterogeneous Sthe human-
itys that comprises 1t. public
practice ofeomparatiyely short
hours, and the multitude OF
lartistic duties that q
conductor must endure for the
sake Of his orc chestra none of
these Is usually sufficient to
smother the fire to conduct.
II issnot unknown for con-
ductoT who was originally !. q I
yirtiicso pianist. celiist, violin (
ist, or guitar player TO main
tain his position as an instrti- .
rlentalist, but usually conduct
ing Is a job that will tolerate
no rival.
Followed the Greet Tradition
Mr.. Lywen says that even
as a small child his answer to
the question What do you
want to be?" was always that
he wanted to become a "yio-
linist," never a. musician" He
grew up in the tradition Of the
complete" musician, the ira
dition of which Hindemith Is
the great example and the
great preacher. While he was
becoming the violinst he had
set himself to be, he also
learned the other stringed
instruments, the piano, theory
and composition. choral sing
ing, and the other attributes
Of a well-rounded musician
for whom the violin is the
medium through which all its
players musicality will be
expressed.
Born and reared in Berlin.
Lywen came to this country In
1896 with empty pockets, his
fiddle. and a great desire to
make music--any kind OF good
music in which a violin had a
part. Violinists who make their
living as soloists are few: their
number Is limited not so.much
by ability, as by the fact5the
name of a great virtuoSo Is a
very valuable property Man
agement. that promotes and
develops this property, is un-
willing to see 1t become too
commonplace, on the .,one
hand. and, on the other. knows
that the public which pays the
bills should net be confused
with too many brand-names.
So,s since you can't kill of vio-
linists like minks to maintain
The market, you "arrangeft that
2pnly q few of the best are in
competition.
Followed Bodonzky's Advice
3 Artur Bodanzky. conductor
pf the Metropolitan Opera Or
lchestra, who knew Lywen, and
could see that his happiness
Day in playing rather than in
chasing a career as soloist, adj
Wised him to become an or
Ehestral player and to find OPP
portunities for solo work and
chamber music as they came
along.
I This was in 1885, q time
when orchestral concerts were
fewer than now and even the
fpig-name artists who had al
ready won their public were
having difficulties. Chamber
music was stif1ed almost to the
point of extinction. The Bud
Apest Quartet survived. but few
others. Great quartets like
the London. the Busch. the
Pro Arte, were breaking up or