* 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 the stirring reductions which we have now placed in effect, you do not have to "wait until rugprices come down!" 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