NDAY OCT.,16, 1938

THE MICHIGAN DAILY

SCLIERZANDO

is closing its fascist jaws on the

'One Instrument Plaed By Eight Hands' - Roth Quartet

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(Continued from Page 1)
number, which was none other than the pristine opus of Mr. Balendonck.
At the close of its rendition the audience vociferously voiced its approval,
Conductor Kindler appealed to Composer Balendonck to come forth from
the audience to receive his applause, and simultaneously the enraptured
Finckel, unconscious of time and passing events, rushed forth from his
seat in the house to the stage, where he grabbed and rung the hand of the
startled Kindler. The audience, very naturally supposing Finckel to be
Balendonck, renewed its acclaim. While all the time the true Balendonck,
standing in a remote corner of the auditorium, went unnoticed, except for one
irritated customer who saluted him with "Down in front!"

Quoted by a journal of July, 1918,
from an interview with Charles M.
Schwab: "When the hearts of the
world are bowed as they are now un-
der the great burdens and sorrows
of war, Music is the great balm which
helps us to look forward to the

happy conditions which follow the
conflict."
Judging by the way things have
turned out, the "great balm" of 1918
was just another patent medicine!
And, apropos, now that Germany


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II

Czechoslovakian wienie, we may ex-
pect anytime to hear that the Czech
national opera, Smetana's Bartered
Bride, has been named as a piece of
Jewish commercialism.
It would be indelicate to mention
any names, but it is an absolute fact
that a certain well-known young
conductor of hereabouts came forth
the other day with the information
that "there is a vast difference 'be-
tween the sacred and the sexual music
of Mozart." He claims it was a slip
of the tongue.
* * *
Concert Decalogue
A "Decalogue of Behavior" for err-
ing audiences (and what audience
doesn't err?), admirably conceived by
Mrs. Parker O. Griffith, nmpressario
of Newark, N. J.:
"I. THOU SHALT hearken unto the
music with all thy heart, with all
thy soul, and with all thy might, and
to aid thee in thine endeavor, study
thou thy program notes and thereby
be more fully prepared to garner the
blessings of the inspired melodies
which are about to be sounded.
"II. THOU SHALT NOT arrive late,
for the stir of thy coming disturbeth
those who did come in due season;
NEITHER SHALT THOU rush forth,
as a great wind, at intermission time.
or before the end of the program;
nor shalt thou trample to thy left nor
to thy right the ushers or the door-
man, or the multitudes that are about
thee.
"III. THOU SHALT keep in checkj
thy coughings and thy sneezings for
they are an abomination, and they
shall bring evil execrations upon thee
even unto the tenth and twentieth
generations.
"IV. THOU SHALT NOT rustle thy
program, for the noise thereof is not
as the murmur of the leaves of the
forest, but is brash and raucous, and
sootheth not.
"V. THOU SHALT NOT "yoo-hoo" ,
unto thy relatives nor to thy boy
friend nor to thy girl friend nor to
any member of thy lodge or of thy
household, nor to any of thy neigh-
bors.
"VI. THOU SHALT NOT whisper,
for thy mouthings, howsoever' hushed
they may be, bring discord to the ear
of those who sit about thee.
"VI. THOU SHALT NOT chew gum
with great show of sound or motion.
Remember that thou art not as the
kine of the meadow who do chew the
cud in the pastoral serenity which is
vouchsafed them.
"VIII. THOU SHALT NOT direct
thine index finger at persons of public
note, and say unto thy neighbor,
'Yonder goeth so and so,' but reflect
that some day thou shalt be a celebri-
ty and thou shalt be in great discom-
fort when thou art pointed at, and
shalt not be pleased one jot or tittle
thereby.
"IX. THOU SHALT NO'TI slumber,
for in thy stupor thou hast ears and
hearest not; peradventure thou pos-
sesseth a, rumbling obligato when
thou sleepest, and verily, the rabble
may be aroused thereby to do thee
grievous harm.
"X. THOU SHALT NOT become a
self-ordained music critic and with
booming voice :comment garrulously
about the players or the playing;
neither shal~t thou hum, or tap thy


' rl IMIII IIA"bY I iY M

Pia tigors ky

Four Naturalize
Compose Rot
All four members of the renowned
Roth String Quartet are Hungarianst
hailing from Budapest, now natural-
ized American citizens. Each studied
for a period at the famous Buda- 1
pest Academy of Music; three of them
have been pupils of Jeno Hubay and
the fourth of the celebrated peda-
gogue Schiffer, assistant of David i
Popper.
Feri Roth, founder and first violin,
was born in 1899, and before organiz-
ing the Quartet, held the post of first
concertmaster of the Grosse Volksoper
in Berlin. Jenn Antal, second violin,
born in 1900, was a concert artist.
Ferenc Molnar, viola, born in 1895,
was a professor of music in Budapest.
Janos Scholz, cello, was born in 1903
of a family for generations associated
with the musical life of the capital,
and himself was a noted chamber
music player before joining theRoth
Quartet.
Each A Star
Each member of the gr up was thus
a solo artist of distinction before the
Quartet was organized in 1926. In that
year it made its first outstanding suc-
cess in Paris, where its debut concert
was so enthusiastically received that
it was forced to give 18 more concerts
the same season in the French capital.
Two years later, it made its American
debut at the Pittsfield Chamber Mu-
sic Festival under the auspices of
Mrs. Elizabeth Sprague Coolidge, and
since then its popularity has been
parallel on both sides of the Atlantic.
It has been especially popular at
American universities, having played
at more than50 in the past decade.
It recently gave its 600th concert at
England's Oxford University.
"Playing for college audiences is
foot; for thou hast come as a listener
and a lover of music, not as a critic
nor as a performer, and remember
that none among the multitudes has
paid admission to hear thy hummings
or thy tappings or to listen unto thine
opinion."


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d Americans Featured Vocalist
h Strng QurtetProf essioial Doctor
h' tring Qartet,
I Dr. F. C. Farago, soloist with the
an experience which always gives us Budapest University Chorus, is a man
a new thrill," Feri Roth says. "Some of extraordinary versatility: A sur-
of the members of our college audi- I geon by profession, he joined the

"the greatest

living

cellist," Gregor Piatigorsky
has proven to audiences
throughout America and
Continental Europe that the
cello can be one of the most

beautiful and powerful

of

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musical instrumcnts.
February 27
CHORAL UNION



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Two Great Orchestras
Two Great Conduetors

. m. .

Artur Rodzinski


Cleiveland Syiiihouy Orchestra
Rankcd among the leading musical groups of its kind1, thc
Cleveland Symphony Orchestra, under the leadership of Artur
Rodzinski, has'had a steady growth in prestige and accomplishments.
Boston Symphony Orchestra
Serge Koussevitzky, beginning his 15th year as conductor of
the famed Boston Symphony Orchestra, continues to give the
briiliant performinces for rhjch he and his organization arc noted,


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