IMAY FESTIVAL L E t 'gun Iai& SECOND SECTION SUPPLEMENT VOL. XLVII No. 145 ANN ARBOR, MICHIGAN, SUNDAY, APRIL 25, 1937 PRICE FIVE CENTS Music Faculty Praises Festival Programs,_Artists 44th Annual Series To Be Held Here May 12-15 ; Includes 6 Concerts 4- Instrumeintalists Are Impressive, S a y s Brinkman Fortunate To Get U. S. Stars To Give Balanced Concerts, He Believes "We are particularly fortunate to have been able to secure two young Americans as.instrumentalists to bet- .ter balance the program of the Fes- tival," said Joseph Brinkman of the School of Music. Joseph Knitzer, youthful violinist, and Eugene List, 18-year-old pianist, have been secured to play. In addi- tion Palmer Christian, University or- ganist, will participate in the Festi- val. .Repertoires Indicate Trend The number and variety of com- positions which both Mr. Knitzer and Mr. List submitted as possibleto do with the orchestra was particular im- pressing, declared Professor Brink- -nan. "List apparently had eight concerts all at his fingertips and Knitzer submitted as many as 20 concertos, a repertoire larger than most mature artists," he said. "This zs a definite indication of a new musical trend," Professor Brink- man explained, in which concert art- ists have sufficient background be- fore they come out to the Festival and tend to veer from being styli ts," The old idea, he added, was for,;on- cert performers to learn a few pieces well so that they could get by, but Mr. Knitzer and Mr. List indicate the new school of thought. Exhibit Staying Power The successes of both of these art- ists are not casual or accidental, for, Professor Brinkman pointed out, the staying power of these performers has. already been exhibited even though they are young artists, with Mr. Knitzer's staying power already proved. The young List will accept only a certain number of concert engage- ments, despite his unusual record'of success. He devotes the remainder of his time to study. At 13 he won the scholarship with Olga Samaroff at the Philadelphia Conservatory. After winning Miss Samaroff made the condition that if he studies with her he was not to be exploited as a wonderchild.. He thus graduated in 1935 from high school, second in a class of 500 students. First Visit Here Of Philadelphia Told InOurnal Orchestra's Annual Book Praises Talent Array In Last Festival The following is an excerpt from the "Journal of the Philadelphia Or- chestra" for the season of 1935-36 in which the Ann Arbor performance of last year is described: Ann Arbor is the attractive home of the University of Michigan. For forty-three years there has been held a musical festival here each May. In the splendid Hill Auditorium (which has a greater capacity than the Academy of Music), Mr. Charles Sink (manager of the Festival) as- sembles a huge audience and an as- tonishing array of musical talent ever.y year. This year, besides the Philadelphia Orchestra, the Ann Ar- bor Festival presented The University f Michigan Choral Union with Pal- mer Christian, organist and the Young People's Festival Chorus . Conductors: Leopold Stokowski, Earl V. Moore (able conductor of the Choral Union and Director of Music of the University), Saul Caston and Charles O'Connell . . . Instrumental soloists: Harold Bauer and Efram Zimbalist . . . Vocalists: Paul Alt- house, Rose Bampton, Keith Falkner, Julius Huehn, Giovanni Martinelli, Lily Pons and Janet Vreeland. Mr. Stokowski, Mr. Caston and Mr. O'Connell were given a rousing re- ception by the Festival Audience to whom they were making their first appearance. All vowed it was one of the most successful Ann Arbor Fes- tivals in years. For the orchestra it Notes on the Festival -By William . There is a story told of a Stokow- ski performance of Beethoven's "Le- onore No. 3 Overture," in which the dramatic climax is reached with the off-stage trumpet call signifying the arrival of the doomed Florestan's rescue party. At this particular per- formance all was in readiness; the trumpeter went back stage, the or- chestra passed through the opening Adagio and rushed preci'pitately on to the climax. Came the tense mo- ment, the strings droned out their monotonous chord-but no trumpet call. After a frantic wait, in which Florestan might well have perished for want of the expected aid, Mr. Stokowski despairingly signaled the orchestra to proceed, trumpetless, and for once the overture was con- cluded without its happy ending. Rushing back stage as soon as the number was over, the wrathful con- ductor found his trumpet player, somewhat damaged, dangling in the grasp of a big, burly Irish cop, who had been detailed to keep out im- posters. "Here y'are, Mr. Shtokow- shky," grunted the indignant defen- der of art as well as life and property. "Here's the guy what was agoin' ter break up yer show." * * * Incidentally, the Leonore Overture No. 3 is, technically speaking, neither "No. 3" nor the overture to "Leonore." As far as is known, the work so titled is chronologically the second of the four overtures which Beethoven wrote for his sole operatic work, known since its first performance as "Fidelio." * , * The climactic moment in the sec- ond act of "Parsifal" finds Wagner indulging in one of his frequent bits of musical onomatopoeia. The vil- Lichtenwanger_ lain Klingsor, seeing that Parsifal steadfastly resists the voluptuous wiles of the seductive Kundry, thinks to destroy Parsifal with a thrust from the sacred spear, which whizzes through the air and stops motion- less above the head of the "pure fool." That "whizz" of the spear is caught in the orchestra by a long 'and upward glissando on the harp. *' * * For piano pieces to be arranged from the score of an opera is a com- mon-some would say too common- occurrence; but for an opera to be made out of piano pieces is rather unusual. Granados' opera "Goyes- ca," was formed from a number of piano pieces written by the com- poser from the inspiration of Goya's paintings. The only number in the opera which does not have its origin in those piano pieces is the one on the Saturday afternoon program- the "Intermezzo." * . Claude IE ebussy's impressionistic sketches, "La Mer," are perhaps the best known of a long line of musicale works dealing with the sea Mr. Felix Borowski has formulated a list of some 50 such pieces, among which are Mendelssohn's "Calm Sea and Prosperous Voyage" and "Hebrides" Overtures, Rubenstein's "Ocean" Symphony, Rimsky - Korsakow's "Sadko," and the sea movements from the latter composer's "Sche- herezade" Suite. There are three other "La Mer's" besides that of de- bussy. * * * "Impressionism," as a term denot- ing a particular artistic attitude and manner of expression, and associated in music primarily with the name of Debussy, came into use after the (Continued on Page 10) Arthur Hackett SSays Vocalists Are Prominent Professor Says Star List Is Most Distinguished Here In Long Tine The list of vocalists in the Festival is one of the most distinguished Ann Arbor has witnessed in a long time, Prof. Arthur Hackett of the School of Music declared, and, he added, the Ann Arbor Festival now being "the" musical festival in the country, the array is one of the most imposing the country has witnessed. All the vocalists engaged for the May Festival are stars in the Metro- politan Opera Company. They are Kirsten Flagstad, Elizabeth Reth- berg, Marion Telva, Lauritz Melchior, Arthur Carron, Carlo Morelli and Ezio Pinza. Wagnerian Artist Miss Flagstad, who opened the Choral Union Concert series here last fall, Professor Hackett described as one of the finest Wagnerian sopranos, who has done much for the Metro- politan Opera Company. Miss Flag- stad, previous to 1933, did most of her singing in the Scandinavian countries. After singing at the Fes- tival at Bayreuth in 1933 and 1934, she was brought to America to sing. leading soprano roles for the Metro- politan. "An excellent artist in all roles" said Professor Hackett of the Miss Rethberg. Before being engaged by the Metropolitan Miss Rethberg ex- tensively toured Europe, rising from a child prodigy to an important art- ist in European musical circles. The contralto, Miss Telva, Profes- sor Hackett explained, has sung prac- tically all the mezzo-soprano parts in the Metropolitan. Born in St. Louis, Mo., Miss Telva rose rapidly in the musical profession and in the last few years, in addition to her Metropolitan work, she has appeared as soloist with Arturo Toscanini and the New York Philharmonic Orches- tra. Joint Leaders Of Symphony Orchestra. EUGENE ORMANDY JOSE ITURBI Conductors Of Concert Tour Anticipate Ann Arbor Festival Morelli, University Alumnus, Says:_'Happy to Return Here' Metropolitan Star To Sing Baritone Role In 'Aida' SaturdayNight Concert In a special letter to The Daily, Carlo Morelli, graduate of the Uni- versity College of Engineering and one of the guest Metropolitan stars appearing in the Festival, expressed his pleasure at returning to the Uni- versity. "The May Festival," Mr. Morelli wrote, "being one of. the outstanding musical events in this country, I am quite happy to make my return to my Alma Mater under such agree- able circumstances." Fourth In Family Mr. Morelli is the fourth member of his family to become a grand opera star. His older brother, Renato Zanelli preceded him into the Met- ropolitan where he had a distin- guished career first as a baritone and then as a tenor. Mr. Morelli changed his last name to avoid con-c fusion of identity with his brother.- Another brother, Antonio, also ac baritone, has had a successful careert in Europe and South America. Carlo1 is the third son and the fourth is carving his career in South America.' In: Chilean Academy Mr. Morelli's family placed him in the Chilean Naval Academy from which he was graduated as a marine engineer. After serving a year as a midshipman, he transferred to the reserve, where he still holds a lieu- tenancy, and then came to the United States. He entered the University of I California but, after one semester, changed to the University of Mich- igan and was graduated a bachelor in civil engineering. But the fame and the glamour of his brother's career, plus a little taste Choral Work Change Allows Nore Variety As a slight variant to the custom of past years, the choral work to be presented on the Thursday eve- ning program of this year's May Fes- tival-Erik Fogg's "The Seasons"-is short enough to allow a considerable part of the program to be given over ,.. ~ ,, .~ .. .. , .. ,....w... ... . ., ,. ,.,wCompeted For Role Mr. Carron, dramatic English ten- or, won his Metropolitan Opera posi- ' on in competition, Professor Hackett ti pointed out. He made his debut with. ' the company, after winning the con- test, in "Pagliacci" in 1935 and has since sung major roles. teThe famed historicwWagnerian Stenor, Mr. Melchior, was said by Professor Hackett to be one of the greatest Wagnerian tenors in many {>, years. "The combination of Miss Flagstad and Mr. Melchior is un- beatable," Professor Hackett empha- sized. A native of Denmark, Mr. Melchior has an interesting reper- toire covering Danish, Scandinavian, Italian, German and English master- pieces, both classic and modern. "The University alumnus, Mr. Mo-' relli," Professor Hackett remarked, "has sung with all the principal operas in Europe." He was first CARLO MORELLI brought to the Metropolitan to share the baritone roles with Lawrence Tib- * * * bet and John Charles Thomas. of "trooping" with his college show Mr. Pinza was described as "one in which he portrayed a Spanish sen- of the noblest voices in opera any- orita, soon resolved him. Besides the where" by Professor Hackett, who taunts of his fellow students. about added that Mr. Pina is "a superb his terrible voice (they knew of his interpreter and actor." Mr. Pinza, (Continued on Page 12) (Continued On Page 111 Before leaving on his tour with the Philadelphia Orchestra which will bring him to Ann Arbor for a four- day concert performance, Eugene Or- mandy sent the following letter to The Daily: The Michigan Daily: It is needless to tell you how happy I am to be permitted to come to Anh Arbor with the Philadelphia Orches- tra this season. It always has been my desire some day to be not only acquainted with, but through my concerts also appear in one of the leading musical centers of our coun- try. Unfortunately, it wasn't possible before this. I have always been greatly interested in the student body and its reaction to. the .great music,. and always felt that the American students in colleges and in high- schools should be given every oppor- tunity--much more than it was the case heretofore-to listen to great music performed by the best artists. Ann Arbor, through the enthusiastic support of President Sink and Dr. Moore has always been one of the leaders in this desire of mine, and consequently, my joy is double be- cause I can take part in the Festival. Select Varied Program, The programs for Ann Arbor Fes- tival were carefully selected by Dir. Moore and myself during a three- days' visit Dr. Moore had with us in Philadelphia several weeks ago. When selecting the programs, we were ex- tremely careful to include works that are both educational and enjoyable. We were also very careful to include works of great variety and works that are not known yet, but will be not only known but loved by the time we leave your city. I doubt whether anyone could haver chosen a more varied and betterprogram than Dr. Moore has. Conducted Dells As for my former associations with the Philadelphia Orchestra previous to my appointment as conductor, all I can say is that I conducted two of the Robin Hood Dell concerts in 1930. It was the first year of the Dell series, started in a very modest way on a cooperative basis. They seemed to like me, and I was asked to come (Continued on Page 12) Speaking before thousands who saw the Philadelphia Symphony begin its second annual 13,000 mile journey throughout the United States and Canada, Jose Iturbi, co-conductor of the orchestra on the present tour1 gave the following address after Dr.j Thomas L. Gates, president of the University of Pennsylvania hailed the cross-country journey as a great cul- tural venture: "Crossing the United States on a concert tour is not new to' me, but{ crossing the United States on such a great undertaking as this one isj thrilling even to such a hardened traveler like myself. This second tour of the Philadelphia Orchestra is great not only in size but in ambitions. It is a magnificent venture in idealism. "I am especially proud for many reasons to have been chosen as con- ductor on this tour. First of all, because I have a deep affection for the Philadelphia Orchestra. It was. with this marvelous orchestra that, I was first introduced to my thou- sands of friends in America; it is, with this orchestra that I have since made many happy concert appear-, (Continued on Page 12) Human Nature C onflicts Ar e Seen in" Aida' By HENRY Q. BRUINSMA "Aida" is a story of the elemental and conflicting forces of human na- ture. Its characters struggle in a Fate-laid trap of their own emotions -love, loyalty, passion, the lust for battle, jealousy, revenge-with the spirit of the arrogant Egyptian priest- hood hovering always greedily above. The action is keenly dramatic, even spectacular and well suited to oper- atic staging. The music is clear-cut, forceful, always perfectly expressive of its composer's aims, with broad melodies, opulent harmonies, and col- orful orchestration. Action Starts In Hall After a brief instrumental prelude, the action of the opera begins in the great, collonaded hall" of the Egyp- tian Pharaoh at Memphis. Ramphis, the High Priest, informs Radames, an officer in the army, that the Ethi- opians are again invading Egyptian territory and that Isis has chosen a general to lead Egypt's forces to vic- tory over the invaders. Left alone, Radames reveals his hope that he is the chosen leader and that he may return victorious to lay his honors at the feet of his beloved, Aida. Al- though she returns his love most fer- vently, Aida is but a captured Ethi- opian 'slave, handmaiden to the daughter of the King, Amneris, who is herself passionately and jealously enamored of the handsome young of- ficer. Amneris now enters; followed by Aida, and her jealous eye soon leads the princess to suspect the truth concerning Radames and her hand- maiden.-' Dr. Earl Moore Says Concerts To Be Best Yet Musical Director Lauds Attitude Of Audience And Selection Of Stars Having participated in May Fes- tivals first as a chorus member and finally as director, Dr. Earl V. Moore of the School of Music expressed the opinion that the artist list for the 1937 Festival, the 44th annual music- fest, "is by far the best we have ever had." "It is fortunate that all these art- ists were available for this year's group of concerts," he said. Claiming fr Ann Arbor the largest musical festival of any University in the country as well as the most varied programs of any of the major American Festivals, because of local desires, Dr. Moore said that the Uni- versity has the only major festival with so great an uninterrupted list of concerts. Long Continued Existence Although the Worchester, Mass., festival has passed its 75th anniver- sary, he said, and the Cincinnati fes- tval is more than 50 years old, the May Festival at Ann Arbor has had a longer continued existence than any other, including the fourth ma- jor festival, the Northwestern series of concerts. Dr. Moore first participated in the May Festival as a member of the Choral Union under Dr. Stanley, the originator of the idea of a music festival in Ann Arbor, in the Spring of 1909, and since that time Dr. Moore has been in every Festival. During the early part of his Festival career he also gave several organ re- citals, having served as organist for the Festivals before the advent of Palmer Christian. Directed First In 1922 The year 1922 was the first time that Dr. Moore directed the Festival serving in the capacity of acting di- rector following the loss of Dr. Stan- ley. In the next year he assumed the full directorship of the Festival, a post which he has filled since. Dr. Stanley and Dr. Moore have been the only directors of the Festival since the first concert was given in 1894. "We have the only University ,fes- tival chorus," Dr. Moore continued, "for the other choraltgroups contain townspeople and adults with the set- ting up of amateur choruses almost prohibited financially. "The development of the chorus was one of Dr. Stanley's original ideas," Dr. Moore added, "in which he believed that the great value which is derived from choral experi- ences is one which should be open to people of 'student age. If this were shut off, the chorus would be like that at other festivals." But now, as Dr. Moore emphasized, the University is known for its chorus as well as its Festival. Built Around Chorus The programs are built largely around the local chorus, Dr. Moore explained. "It is only in the last few years that major orchestras have included choral concerts in their pro- grams with choral compositions hav- ing slight chances except at festi- vals." The local desires of the communi- ties from which the music festivals draw, determine the type of program end the variety included in the pro- grams presented, Dr. Moore pointed out. At Ann Arbor, he said, where the community does not hear operas or has no major symphony orchestra readily accessible, except for the stu- (Continued on age 10) Orchestra To Mak e Longest Stop Here THE PHILADELPHIA SYMPHONY * * * Ann Arbor is to be honored with the longest stop that the Philadel- phia Symphony Orchestra will make on its 13,000 mile coast to coast tour which began April 19. The first concert of the 1937 tour was given in the Philadelphia Aca- demy of Music on the night of de- parture from Philadelphia, April 19 and the orchestra was forced to has- Arbor May 12, 13, 14 and 15 for the annual May Festival. Interest was centered on the five women who will make the journey with the Philadelphia Orchestra as they left with the group in the "Ho- tel On Wheels," which will house the musicians for five weeks. Three of these women made the journey lastI year, but making her first nation- mmilPti +,a. T im Ponte nn of the Milwaukee, Wis.; Toronto and Mon- treal, Canada; North Hampton, Mass.; and White Plains and New York, N.Y. Mr. Ormandy this year opened the season of the orchestra, and by the end of the season will have led the orchestra in 22 weeks of its sea- son. Mr. Ormandy will as well con- duct the majority of the concerts on the tour. The busiest conductor of Record Attendance Expected This Year Judging from the advance ticket sale, the Festival promises to be rec- ord-breaking from the stand-point of attendance, Charles A. Sink, presi- dent of the School of Music pre- dicted. Requests for tickets have been pouring in from all parts of Michigan as well as the major cities in the country with the sale here exceeding that of last year by far," he said, "so that the Festival promises to be the most successful ever held here." The sanlof individual tickets. it Musings Interrupted Into their several and apprehen- sive musings break fanfares an- nouncing the entrance of the King and his attendants. First a messen- .