* Perla&al Carter
CUFTON AflNVI • CINCINNATI 30, OHIO
—
THE DETROIT JEWISH CHRONICLE
MUSIC NOTES
By Hermann Hoexter.
There is every reason to hope that
the plans °lithe management of the
Detroit Symphony Orchestra for a
series of special concerts for children
next season will soon be ready for
public announcement. Nu more inter-
esting or far reaching event than a
course of this kind could be conceived,
and the final details of the program,
the dates, and a general summary of
the purpose of the concerts will he
welcomed by hundreds of parents and
their offsprings to whom these special
orchestral recitals are certain to be
revelations of matters musical, ardent-
ly wished for in the past, vaguely
sensed, and yet never concretely de-
.manded. The fine orchestra which Mr.
Gabrilowitsch will again have at his
command this season, will then be
fulfilling its duties and obligations as
a civic institution, repeating here. at
Orchestra Hall, the splendid work,
propaganda, and success which has
crowned the similar performances of
the Chicago and Cincinnati Orches-
tras.
Briefly then, the aims of a series
of concerts for young people and
the results which should obtain, are
these: to train the new generation to
listen intelligently to music, to en-
joy it because they understand it,
to enable them to distinguish all the
instruments and tone colors in a
modern symphony orchestra, and as
far as possible to remember the gen-
eral contour and feeling of the music,
and be able to talk constructively
about it. This does not mean that
the course' must necessarily be an
historical one, arranged with the view
of presenting the growth of any par-
ticular form in music, or even the de-
velopment of the orchestra. its choirs,
and the various instruments in use
today. Colors appeal much more
powerfully to the child mind than
they do to that of the adult,—and yet
we know what an attraction these
have for the matured tnan and wo-
man. So interest and enthusiasm
should first be aroused by a direct
contact established through the med-
ium of tone-color; which means that
certain instruments in the orchestra,
or the combination of these, espe-
cially in modern compositions, have
the power to affect the ear much in
the same way that light affects the
eye; and colors in combination have
t he strongest tendency to stimulate
the child imagination, to set the pow-
ers of "make-believe" in action. So
with a few well chosen selections,
modern, compact, running the gamut
of the emotions and illustrative of all
the tints and shades derived from the
spectrum, the child will soon be able
to see the difference between
Gounod's "Funeral March of a
Marionette," and Debussy's "Dance
of Puck," by color first, and later by
rhythm, form, and general treatment.
It is the purpose of the management
to have each concert under the di-
rection of a lecturer, who will co-
operate with the conductor, and who
will briefly explain the ''story" of
each composition, bring to the at-
tention of the audience the instru-
ments which are responsible for the
"tone color" individualizing thr spe-
cial compositions, and by skillful
questioning help the children to
discover for themselves the wonder-
ful power of music to depict action,
which, working directly upon the
imagination, shames the "mos:hist"
motion picture.
The attention challenged, the in-
terest aroused, there follows the nat-
ural desire on the part of the child
to interpret for itself; and this action
is fostered by the many new com-
positions which are brought to its
attention at the succeeding concerts.
There may be illustrations of purely
formal music, chosen to assist in the
development of the child's powers of
perception and memory: a Bach
"gigue," a Mozart 'tninutet," per-
haps a very simple movement from
a Haydn symphony.
. Vet these too
should have a story value, even,
though it may be nothing more than
association of ideas, say, with sonic
well known picture. It is not diffi-
cult to trace the development of a
Ilandle minuet, once the principal
theme has been learned. Nor does it
tax the child mind unduly to ask
for a count of the repetition of the
subject of a fugue. All this is whole-
some, delightful exercise, with t he
most beautiful mat real in t he world.
—beautiful tones. A series of several
concerts, the last one presenting a
progratn as varied as, let's say.—
Grieses "Peer Gynt" suite, Gold-
mark's ''Sankutala" overture, and De-
hussy's 'Faun,' is certain to do more
to stimulate the desire for good music
and create patrons of future sym-
phony concerts, than all manner of
individal instruction on the viohn and
the piano, a training that more often
violates every principle of psycho!.
ogy, and utterly prevents the child
from developing the capacity to en-
tos, music other than the few selec-
tions which it has mechanically
learned. And this point is debatable.
By all means let's have the chit-
drens' matinees. They have
been
tried and found indispensible else-
where; they will surely hold their
own here.
HONOR MEMORY OF SLAIN
RELIEF WORKERS, SEP. 9
NEW PORK.—Announcement N3t
made by the Friedlander-Cantor Me-
morial committee that on the even-
ing of September 9th, New York
Jews will have an opportunity of
honoring the memory of Professor
Israel Friedlander and Dr. Bernard
Cantor, the two Jewish relief work-
ers who were recently killed in
Ukrainia. A mass meeting is being
called for that evening at Carnegie
Hall when tribute will be paid to
the memory of the slain workers by
the most prominent Jews of the
country. The Memorial Committee
is composed of Dr. Cyrus Adler, Dr.
Judah L Magnes, Judge Otto A.
Rosalsky, Samuel C. Lamport, Shol.
om Ash, Mr. Felix M. Warburg and
Mr. Stanley Bero who acts as secre-
taryy.
PAGE THREE
Rohm
hois
II
cg
ITH
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THE
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