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January 29, 1922 - Image 7

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SUNDAY, JANUARY 29, 1922 THE MICHIGAN DAILY MAGAZINE '
The Appreciation of Symphony Music
(By T. E. D.) failure. It is helpful if the audience music two or three times to gain any evident control over men the more
"Symphony orchestra? There is only ran know the music. To play the insight into it. That is the way it powerful.
one way to learn to appreciate it- selections over on the phonograph or, slowly grew upon the public, and it is In contrast to the appearance he
with a knowledge of piano to learn now, making rapid progress. makes on the stage, Mr. Gabrilowitsch
hear much of it!" said Ossip Gabril- something of the piano score of the Mr. Gabrilowitsch when speaking is not tal1, but of average stature and
owitsch after the Detroit Symphony works, is the best way to become ac- impresses his hearer with the sense a wiry build. His hair is in wild con-
orchestra' concert Monday night, when quainted with them. But this is not that he knows his subject. He does fusion in a sort of halo about his head,
asked just what musical education he essential. The audience needs only not answer questions immediately but aiid not so profuse as it appears in
to create an atmosphere of interest, when he does, he uses concise state- his pictures. His face is thin, and
thought necessary for an appreciation of attention, and of trying to appreciate ments and has a definite point in view. shows signs of intense work.
of symphony music. The question was the work, and it will understand the He speaks excellent English, with only But it is his hands that impress one
prompted by the apparent failure of concert. Nothing else is necessary. a slight accent; his sentences are most of all. They are long and thin,
students on the campus to appreciate! Go to concerts, try to get the spirit well-formed; all of his speech is to and his fingers, which he spreads apart
reiiarkable offeriigs of tie Be- of the work, and you need not talk of the point and spoken with an authori- just before lie shakes hands, are al-
thea 'musical education.' That Is a musi- ty which commands attention. It is most phenomenally long. And one
troit orchestra. cal education." not dignity which commands attention, I gets just a fleeting impression of an
"They must go to symphony con- Mr. Gabrilowitsch believes a good however, but simplicity and direct- immense power in them as he grasps
certs if they hope to be able to ap- part of the failure of the public, to get ness that make his personality and I one's hand in a firm handshake,
preciate them," he continued, "for the right attitude in concerts is often
such music is not to be understood at due to the effects of jazz, the movies,
first hearing." and modern musical comedies. While
"The trouble with so many audi- he does not condemn them, he says:
ences, everywhere, is that they go to "This attitude is due, in a large We are Representatives for the Women's League
one concert, and because it does not! measure, to the fact that so many of
strike an immediate sympathetic chord the amusements today do not require
in them, they throw up their hands any effort on the part of the audience. *
saying that they cannot appreciate it The jazz music lowers the taste of
or that they haven't the musical edii- those who can like good music if they
cation to understand it, and do not are given it, while it keeps those who that says what you
go again. I might like good music if they had no
other from enjoying it. People are want it to say:
"No one can understand music from not used to anything but the jazz and
that basis. People go to a concert, nt use to t huah jozd and
pay their fifty cents or dollar and ' ws they go to hear good music
expect to have an evening of high FLO W ERS
class music served them while they "The musical comedies and moving
lean back in their seats and listen. It pictures accustom their audiences to
is impossible. the simplest kind of enjoyment and
"All appreciation of music is based set no standards of interpreta-
on a conscious effort on the part of tive effort on the part of the audiences.
the hearers to understand the work The result Is, people cannot con-
of the artists. They cannot stand on ceive of the audience at a concert as {
a platform and simply by playing, for having any part in the program.
instance, a wonderful symphony, force iModern music is making good pro- Blu Shop, Inc.
it down the throats of an entirely inert gress in America, Mr. Gabrilowitsch ae ossom ,
audience. Music cannot be under- believes, and his program Monday 213 E. Liberty Nickels Arcade
stood or appreciated that way. An at- sight evidenced that belief in concrete
mospliere such as is created by an form. The Telegram Florists of Ann Arbor
audience which has come only to be "Modern music," he said, "is mak-
amused by the artists is the most dis- ing its way now into a popularity
couraging element possible in a con- much greater than its first receptions
cert, and one which leads to the great- would ever have allowed anyone to
est misundersta.nding. ~ hope for. They were very discourag- I II1111111111l111111 1 1 1 1
"This is even more true of symphony ing. Take the Scheherazade, of to-
music than of any other type. The night, for instance. Do you suppose it
orchestra is but half the concert. The was a success when it was first pro-
audience is the other half, and with- duced? It was an utter failure!
out that other half any concert is a "You have to hear most modern
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