Indianapolis Times, Indianapolis, Marion County, 29 February 1940 — Page 16

Symphony Introduces Composition by Cowell

Though the event was unheraldgd,] A private telephone, line somehow last night's broadcast ‘concert by got plugged into the radio circuit

Fabien Sevitzky and the.Indianap-

olis Symphony Orchestra’ was the! occasion: . for another. “world premiere” of a coniemporary American composition. The work was the “Old American Country Set,” by Henry Cowell, . Guggenheim Fellow and specialist in European and American folk music. Mr. Cowell has steered a moderate and admirable course in a field of music whose apparent simplicity conceals a good many snares. The composer may overdress: his folk music, or he may present it in a four-square version which adds little to its unadorned original setting. Mr. Cowell has done neither. - His settings are imaginative, and: their exposition is cleverly orchestrated. The themes’ frontier characteristics are not too literal to rob the suite of the intrinsic‘ pleasure it conveys: The broadcast also included the Overture to Rossini’s “The Barber of Seville,” and the. Notfurno for orchestra by Martucci. Puzzled listeners may be glad to know that the mysterious counting which they heard at the beginning of the broadcast was a WFBM technician ticking off the seconds for the man at the Murat controls.

fog

STOUT'S FACTORY

in one of those freak mixups which even the miracles of radio engineering can’t avoid for 365 days in the year—J, T.

Devine Encages Louis Lowe Band

Tom Devine, who has presented a series of visiting dance bands since he opened his Music Hall in the old Maennerchor Hall on New Year's Eve, has booked a local orchestra for an appearance Sunday night. Honors go to Louie Lowe and his musicians, who currently are appearing at the Indianapolis Athletic Club, An aded feature will be the singing of Rachei Helms. The Lowe organization has been

a popular one with local dancers for :

many seasons, and last summer

played a season’s stand at Westlake.’

n Saturday night the Music Hall’s out-of-town attraction will be Art Kassel and his “Kassels in the Air,” who will play a one-night engagement.

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By JAMES THRASHER

| Tomorrow afternoon and Saturday | night Fabien Sevitzky will conduct | the Indianapolis Symphony Orches{tra in-an all-Tschaikowsky program at the Murat, honoring the centen{ary of the Russian composer’s birth. | Josef Lhevinne, the distinguished | Russian pianist, will be the soloist.

Mr, Sevitzky has a considerably {more than local reputation as a | Tschaikowsky interpreter. And the fact that he was devoting an entire performance to what might be termed his specialty seemed to merit looking into. The thing that clinched the interview, however, was {a discovery, through a glance at the {music encyclopedias, that Tschai- | kowsky and Mr. Sevitzky were con- | temporaries. To call them contemporaries is to be a bit technical, it is true. For their concurrent existence on this planet was a matter of only about six weeks. According to these same encyclopedias, the Indianapolis conductor was born in the last week of September, 1893; And Tschaikow={sky died in the first week of the

O'BRIEN IS 'WARDEN' AT CIRCLE

7 years old.. I learned a piece on the piano called ‘Barcarolle.’ All the time I was playing it I was thinking who was this Pyotr Ilyitch Tschaikowsky? I cculd not think of. the last name without saying the

other two—Pyotr Ilyitch. “Finally I got a picture of him, and I learned that he had come from the same state as my father. Iplayed the piece over and -over. And when I started the violin—my father wanted me to become a violinist—I played Tschaikowsky’s ‘Barcarolle’ as soon as I could play a D major scale decently. “Later, when it came time for me to enter the St. Petersburg Conservatory, I found that there were no vacancies for pianists or violinists. But I could be admitted as a double bass student. And the first piece I played after I had learned something of that instrument was the ‘Barcarolle!’ “My first symphonic experience with Tschaikowsky was an unfortunate one. see Isadora. Duncan dance the

Warden Pat O’Brien obviously isn’t fooled by the innocent countenances of Burgess Meredith (left) and John Garfield in this prison workshop scene from “Castle on the Hudson,” the Circle's attraction

Mr. Sevitzky Recalls a ‘Contemporary’

system and his indications of tempo

and expression. I approach Tchaikowsky as one poet would approach’

another. I read his music as a performing artist would read Byron, Heine, Pushkin or any of the lyric poets. “His dramatic passages come from

his enormous fund of lyricism. He sees life from the standpoint of the fatalist. Every theme of every sym-1 phony, from the First to the Sixth, is a leit motif of fate. This is

typically Russian—not Slavic, but Russian.

“People ask me, ‘Why do you love

Tschaikowsky more than other composers?’ good music, and Tschaikowsky belongs with the creators of good music.

This is not true. I love

“It is not difficult to understand

Tschaikowsky when you approach| him from the standpoint of simplicity. ' It is not so easy when you

: start to figure how you ought to My father ‘took me to d

o it.”

[HoLLYwooD Some Stars Get Hopping Mad | Dies .

By PAUL roams

Yells

‘Communist.’

more timorous one than Hollywood. ‘ Individual members of the film

gating Un-American Activies. A few of them have popped off with hysterical indignation which must have served only. to dignity, _in the public's mind, the remarks of Mr. Dies. Collectively the industry responded as it usually does to attacks and criticism— with a profound, uneasy silence. While M#¥ Dies’. unconfradicted statements were being digested by millions of magazine and newspaper readers, the Producers’ As=sociation was agreeing on a pclicy of sileice, The idea of the moviemakers is that Mr. Dies already has put his foot in his mouth, and that if his antics are ignored he may swallow it in an effort to win ' some attention.

‘WHEN 1 WENT AROUND wondering audibly why Will Hays, socalled czar of the cinema business, didn’t do something in its-defense, I drew nothing but horselaughs. “What did he ever do about censorship or legislation or anything affecting pictures?” asked one executive merrily. - Another suggested, “Maybe he’s self-conscious in this Communist argument because he’s known as a ‘czar’.” Hollywood wouldn't feel so badly about the Dies allegations if the Legislator hadn’t lumped everybody here, at least by inference, as a pack of idiots who have become, willingly or unknownigly, , the pawns of communism.

Nobody complained a few weelts ago when William Bledsoe, former editor of the Screen Guild Magazine, wrote in the American Mercury about communism in Hollywood. His article heaped ridicule on the movie colony and described the red invasion as “the goofiest era in cinema legend.” He came right out with some names, too, declaring that among celebrated actors, writers, and directors who innocently succumbed to the “Stalin putsch” were Melvyn Douglas, Fredric March, Sylvia Sidney, Lionel Stander, Frances Farmer, Dorothy Parker, Lillian Hellman and Donald Ogden Stewart.

HOLLYWOOD, FEB. '29.—~If Rep. Martin Dies was looking around for a sucker at which to yell “Communist!” he couldn't have chosen a

Red charges made by the chairman ,of the House Committee Investi-

Hollywood has been ‘waving the |

in the picture business with un- |

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HOLLYWOOD, Feb. 29 (U. P.).— Motion picture cowpunchers rallied today to the defense of Jerome | == (Blackjack) Ward, charged with| | killing John Tyacke, another movie

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| following November, : : : : g ‘Pathetique’ Symphony. This was At this point Mr. Sevitzky called ns dle | ves .

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Still this co-existence deserved some investigation. For the way Mr. Sevitzky conducts Tschaikowsky’s music leads one to suspect that he might be a sort of musical Dalai-Lama; that perhaps he received in his infancy some special understanding of the work of this composer who was to depart so soon. At any rate an appointment was made. And comfortably settlea in his own living room, Mr. Sevitzky fell into talk of his favorite Rus- | sian composer without much urgling.

| “I met my ‘contemporary’ in 11900,” he began, “when I was only

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somewhere about 1901 to . 1903, don’t remember. I didn’t like it.

the dancing spoiled it.” Mr, Sevwitzky first performed in

student days .at

the second” movement.”

ter idiomatic English.

pression,” he continued.

ing of ‘Slavinism.’” “Slavinism,” Mr. Sevitzky

there such a word?

into the language immediately. “Now it comes me.” Sevitzky, taking a fresh

masters, but Tschaikowsky passed them all.

But I. remember It was such beautiful music, I told my father, but

Tschaikowsky symphony during his the conservatory, when Artur Nikisch came there and conducted the ‘Fifth. Mr. Sevitzky said he remembers “crying all over Mrs. Sevitzky, sitting nearby, suggested that “crying all through” might be bet-

“The intérpretive mind of Nikisch left with me an unforgettable im“It cannot part from me at any time. No Ruassian conductor could give the impression that Nikisch did. He was a German, with German training, yet he had the highest understand-

repeated with some hesitation. Was It was agreed that there was not, but that it was an apt and highly expressive one nevertheless, and should be adopted

said Mr. start. “Tschaikowsky is definitely the greatest example of Russian genius. There have been many Russian sur-

for the score of the Sixth (Pathetique”) Symphony—which is on the week-end’s program—to illustrate his point. He turned to various portions of the four movements, pointing out where the composer had indicated unmistakable directions as to the interpretation. “The symphony is the story of man’s life. We were taught this in Russia. First life’s beginning and infancy and first impressions. Then love, and after that Fate steps in and resignation. The second move~ ment is simply a dance, in 5-4 time. The third movement, with its martial character, is a tribute to the successful man.” The conductor did not deem it necessary to explain the famous finale, with its depth of lamentation and resignation. But he did hum the principal theme, pointedly illustrating the way it sometimes is done by various conductors. “This symphony can be done 30 hysterically that. it makes you cry. Or it can be done in such a way that all your life you will remember the music in this little red book,” and he tapped the score with his finger. And finally, in one sentence, Mr. Sevitzky provided a clue to his love for Tschaikowsky’s music, and to the qualities that have made him a vaunted interpreter. “We ‘are both Russians, both musicians, both temperamental, and both fatalistic.” :

BUT MR. BLEDSOE'S ARTICLE was presented as an obituary of the leftist movement here. He mentioned the emotional restlessness of Hollywoodsmen, and I believe he should have added that people who work all day as stooges for Dorothy Lamour and Shirley Temple are likely to welcome almost any chance to do some serious thinking. Bledsoe’s opinion is that Hollywood merely played with radical notions as it has with many another goofy fad, and that Communism now has gone completely out of style.

I think he’s right and that Mr. | Dies is wrong and unjust in attacking an e entire industry which which

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“Many people in this world think that to interpret Tschaikowsky is to exaggerate. You need play only what Tschaikowsky has composed. Every emotion has been described in the notes he wrote, in his metric

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