Evening star. [volume] (Washington, D.C.) 1854-1972, 1959-07-26

IN "FalStaft" - ana can well
imagine him saying "I'll deny
1t II you quote me, but long
hair for the Latins is a flop"
What he does in fact write
goes like this: 81. when
evening comes and we play a
concert. 1t is never much
effort to really get in the
proper spirit. The audi
ences here are simply fabu-
lous in their vociferous
appreciation. When you know
you're being worshipped, who
In the world wouldn't make
every effort to put out? To
see hordes Of people cheering
you has a magic reaction.
-. We love Latin America,
and happily its mutual.
"All the big cities like
Lima, Buenos Aires, Rio,
Santiago, have been tremen-
dous. It's gratifying to make
a sensational impact on those
sophisticated types. But for
me-" continues Mr.. Hood,
getting wound up, "the SMALL
er places have been unique
ly greater. In Trinidad.
Asuncion, La Paz, we get
something extra an at
titude Of what have we done
to deserve having the Ma
tional Symphony play for
us?'"
Well. what do you think?
Doesn't Mr.. Hood seem to
have sold even himself? And,
boy. have we been success
full! Youth concerts
given free Of charge-have
made a great impact. The
whole idea seems to be brand
new, and I know we have
started something that will
be picked up all over by To-
cal orchestras Tiny Flor.
ianopolis, which I had an
ticipated as a sort Of Scran-
ton" (where does Mr.. Hood
pick up his prejudices) "ac-
tually was a wonderful sur
prise. The whole town, in its
setting on the water, is just
beautiful -"
How is Lloyd Geisler, solo
trumpet and associate con-
ductor, standing the gaffp
Naturally" he says. 1--WE an
ticipated with eagerness play
ing in Lima, Santiago, Buenos
Aires, Montevideo, Sac Paulo,
etc., where audiences are &C
customed to the best. In all
these places, many people.
including representatives
from our embassies, warned
us to expect very sophisti-
Gated audiences We ex-
pected the cool approach
something like we get at
home or at a typical United
States concert" (Now look
here, Mr.. Geisler, just be-
cause you're enjoying the
unrestrained enthusiasm OF
the warm Southern tribes.
don't start weeping about our
local "cool" Anglo-Saxon re-
sponse.) "Well, Day, it's not
so. At the Colon Theater in
Buenos Aires, for example.
when our first concert sold
out a few hours after the
box Office opened, we were
requested to play a second.
And this one likewise sold
out in SO hours.
"After every piece we
played, the audience literally
went wild, and at the close
after Howard MITCHELL
must have taken is calls he
had to lead Werner ILywen,
the concertmasterl off the
stage so we could finally go
to bed. Well, what do you
think happened? Howard
was in his room changing
his clothes; the orchestra
members we're packing their
instruments backstage, and
still the public wouldn't leave
or stop cheering and APP
plauding. So Howard ties his
white tie again and goes out
for three more calls on a
bare stage. AS a member OF
the National Symphony for
% years, I can testify
nothing like this has evel
happened before.
1.-THE same reception wa!
given to us in all the cite:
mentioned above, so if We
return to Washington with
slightly, or even largely
swollen egoS. you will know
the reason why. In my case
I have two reasons for sue
cumbing to this particular
weakness. No one has beer
critical Of my trumpet play.
ing, and many have beer
complimentary about my con-
Quoting. ;"
Orchestral musicians usu
ally don't like to go on tours
1t is a necessary part Of thei
jobs, but ordinarily it i
enervating and thankles
work. But there seems t,
be something special abou
South America something
that prompts the observation
that if the National Sym
phony is on q goodwill