Indianapolis Times, Indianapolis, Marion County, 12 March 1940 — Page 4

that just this way. .

Paul Whiteman Human Dynamo of Music World

y HARRY muse cas Ol a success school. 80 forth and follow his exa _- The man the week-end.’ School pupils, do a radio bit and make several personal appearances. afi en he comes off the stage a & show you can hear him talking to his men all the way wnstairs. He tells them: “Play . Don’t pla, any louder! . . You had it right «.. You had it wrong. » He is meticulous. For his first number on the Lyric program he Plays a medley of tunes introduced y the band during the 20 years he's had it. He said the medley had never been played exactly the same An any performance. We change a note here, a bar there, a nuance here. There are infinitely small cuts and insertions. ~The ta of the bo to be so, the move- ~~ ments o e s in the hb Trond y and just All these changes from the man’s. who's supposed to know it correctly from the start! In every town he goes to he gives scores of auditions. One in a hundred will click. Then he has the beginnings—just the beginnings-— of a new star. “We got a good trio in Cleveland. They may tum into something,” he

mple.

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BALCONY 300 After 6

JOE PENNER. "Millionaire Playboy" |

no secret = Yo why Paul Whiteman has started so many n the glory road to fame. For just watching him work is All the Whiteman alumni had to do was

is a dynamo. ‘ He played five shows a day at the Lyric over Between shows he managed to talk to Shortridge High

Beiderbecke for a while,

MORRISON

says. “And for instance, I've heard about a quartet in'a local spot here. I'm going to see if they're as good as the people here think they are.” He is a strict disciplinarian. “I don’t care if a boy is a wonderful musician and I'm crazy about him personally. He has to be enthusiastic.© He has to be crazy about playing and he has to work just about all the time.” Anyone who graduates into a band of his own—as did: Bix Henry Busse, Jimmy and Tommy Dorsey, Jack Teagarden, Frankie Trumbauer and others—already knows the rules and pitfalls for band leaders. They've been taught the tricks about advance publicity men, carrying their own props and stagehands, and other things in music besides how to play their own instruments. They've learned what Whiteman calls “real showmanship.” He’s developed singers ‘he’s proud of, too. He names Bing Crosby, Morton Downey and Jack Fulton among the men, and Jane Froman, Mildred Bailey and Ramona on the girls’ side. He hasn't even thought about retiring. He's in love with® music, show business and bands. If he ever does retire, he has another love. He has, for one thing, a family—Mrs. Whiteman, Margot, age 9, and Dickie, age 22 months. He's perpetually on a diet and drinks bottled water. His maid, who goes everywhere with him, says he can’t remember a thing. “I can just manage to take care of him on the road,” she says, “and When he gets home it takes three of us.”

WHEN DOES IT START?

APOLLO

‘Gone With the Wind,” with Clark Gable, Vivien Leigh, Leslie Howard Olivia de Havilland, 1s 10:20, 2:30

CIRCLE

“The Grapes of Wrath’ Henry Fonda, Jane Darwell, John Catragdine, Dorris Bowden, at 11:18, 54, 4:30, 7:06 a

Loh “of Time: “The Vatican of BL XI1.,” at 1:36, 4:12, 6:48 and ky civic

a Life,” Clifford Gold1» school life

with

“What

presented by a " gnder Edward Steinmetz’ direction. Sngagement Wd Wednesday; curtain at 8

TAA

“Abe Lincoln in Illinois,” with Raymond Massey, Gene Lockhart Ruth Gordon, Mary Howard, at 2:23, 3°36, 6:49 and 10:02. “Millionaire Playboy,” with Joe Penner. Linda Hayes, at 11:19, 2:32, 5:45 and 8.38. LOEW'S “Broadway Melody of 1940," with Fred Astaire, Eleanor Powell, Geer ke Murphy, at 12:25, 3:30, 6:40 and 9:5 “Qutside the Three-Mile Limit. % with Jack Holt, Harry Carey, at 11:15, 2:20, 5:30 and 8:40.

LYRIC Paul Wuiteman and a Srchessra, 1, 3:51, 6:42 9:33. °

on stage at “Slightly Borie vin Pat O'Brien, Edward Arnold, Broderick Crawford, on setesh at 11:15, 2:07,

LAST S DAYS

tomorrow night.

. As inmates of a home for retired actors, Victor Francen (left and Michel Simon prepare for a last performance in “The End of a Day,” French film which the Filmarte Guild will present at the Athenaeum

By JAMES THRASHER

One of the most important and eagerly awaited events of the music

‘| season took place at English’s last

night before an audience that should have been larger but scarcely could have been more enthusiastic. The occasion was the recital of Vladimir Horowitz, distinguished : Russian pianist, who. appeared under the Martens Concerts auspices.

Indianapolis had been waiting a long time for Mr. Horowitz. He was scheduléd here some three or four seasons’ ago, but in the interim he®has been making a slow convalescence from an illness which for a time threatened his life. Naturally, there was, in his enthusiastic welcome here, a certain curiosity as to what effect these harrowing years might have had upon his artistry. It did not take Mr. Horowitz long to satisfy this curiosity and dispel any anxiety among his admirers. Certainly his absence from the concert stage has had no deleterious consequences. He still remains one of the most amazing members of the virtuoso fraternity. And his

| playing, though still of broad line

and massive proportions, seemed less impetuous than when I last heard him 10 years ago. Obviously his convalescence was also a period of some artistic reflection and ripening. Gives Sonata Group The first half of his program was given over to sonatas. But what a divergence of conception and content was included under this general appelation! First came two of the Scarlatti Sonatas, then the lyrical and high-spirited Beethoven Sonata inn E Flat (Opus 31) and

4:58, 7:49 and 10:2 fi 18s

POTS =

Fred MacMurray—Barbara Stanwyck “REMEMBER THE NIGHT” Plus Andy Devine_Eraston Foster - Ellen Drew “GERONIMO” OPEN

finally Chopin’s B Flat Minor Sonata, that stormy, sorrowiul and

highly dramatic departure from the classic implications of this musical form.

Mr. Horowitz played the Scarlatti

Brilliant Horowitz Recital Enthusiasticatly Received

‘novelty upon a top-flight artist’s program. Today it seems the fashion with pianists to leap lightly over the Beethoven sonatas until they get past the Opus 100s, where they do most of their preparation for public performance.

Plays Beethoven Work

But there are good things among the earlier works in the immortal 32—good things besides the “Moon-

“Appassionata.” Mr. Horowitz’ selection last night was one of them. And he played it with the serious approach usually reserved for the later sonatas, In fact, it might be said that he made of the last movement something more heroic than the content warranted. But the first three movements brought with them the highest gift of the interpreter: A realization of Beethoven's genius even in lesser things, and a reawakening to hidden or forgotten beauties. | The Chopin sonata suited Mr. Horowitz even better. He was master of mood and message. The tragic struggle of the opening movement; the scherzo’s gibbering, terrified gaiety with its trio of melancholy consolation; the dolorous funeral march—all were set forth in a stirring manner. As for the cryptic last movement—which might represent the wind sighing over the graves or Chopin whistling through his teeth, depending upon your emotional leanings—MTr. Horowitz played it as fast as posisble, which seems to me an ideal way to treat those puzzling pages.

.Chopin Works Follow

More Chopin followed the intermission, the C Sharp Minor Mazurka, the Etude in the same key from Opus 25, and the famous “Black Key” Etude. Through the rest of the program the pianist’s delighted listeners received affirma-

tion and reaffirmation that Mr.|beth Cook Fields, the school’s music

NBC. Sweeps,

cludes more than 150 numbers.

indicated it would take similar ac- . | tion against songs which ridiculed - | politicians or which mentioned alcohol for a specific advertised product.

not permit on the air in any form are “Dirty Lady,” “Hector the Gar-

light” and the “Waldstein” and the|

series of 14 concerts each, the pro

affect. a production of little thea ter players. at he Sherman ote |Playtiouse.

and leads a dance band in addition to acting, announced today that he also is a director. He wi

"MICKEY ALSO DIRECTS HOLLYWOOD, March 12 (U.P.).— Mickey Booed, ¥ho writes musie

Tin Pan Alley

Double - Entendres Get the : Air—But Not on Network.

NEW YORK, March 12 (U. P.). —The - National Broadcasting Co. cocked a sharp ear today for doubleentendres in song titles or lyrics, ready to add any offending songs to a forbidden list which already in-

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The broadcasting company also

- Among the songs which NBC will

bage Collector,” “A Guy What Takes His Time,” and “Keep ¥our Skirts Down, Mary Ann.” They were banned because ‘of their titles. Such songs as “Bye, Bye, Mister Dry, You're All Wet,” and “Do You Think a Little Drink Will Do Us Any Harm,” -are forbidden because of their alcoholic references. “Franklin D. Roosevelt Jones” is permitted if the President’s voice is not mimicked. But “Doin’ the Chamberlain” is restricted as is “So Long Huey Long.” " Even Irving Berlin has felt the ban. In his song, “These Little Things Remind Me of You,” the line} “gardenia perfume lingering on a pillow” was changed to “a seaplane arising from an ocean billow.” In Cole Porter's “I Get a Kick Out of You,” the line.“some get a kick from champagne,” was changed to “some like that perfume from Spain.” The lines “though your father’s name was Stanley, thank God that he ‘was manly” were cut out-of the song “Thank Your Father.”

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N. Y. Symphony Reduces Prices

NEW YORK, March 12 (U. P‘— The New York Philharmonic-Sym-phony Orchestra has announced a

considerable reduction in its ticket prices for the 1940-41 season, “in an effort to meet the musical needs of a changing world and adjust the cost of concert-going to the economy of the times.” The reductions apply to, the Saturday evening and Sunday afternoon concert series for regular subscribers. For either of the two Saturday evening series of* seven concerts each, bought en bloc, the pro rata price will range from $1.43 per concert on the orchestra floor to 25 cents in the cheapest balcony seats, at the top of Carnegie Hall." Up to now, the cheapest Saturday seats have been 57 cents. For the two Sunday afternoon

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rata price will range from $1.43 to 50 cents. Prices in the two tiers of boxes also will be reduced.

DECATUR CLUBS GIVE OPERETTA

The Decatur Central High School glee club will present an operetta, “In Grand Old Switzerland,” tonight and tomorrow night in the school gymnasium, The operetta is directed by Eliza-

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familiar enough in the classroom and student recital, was almost a

The Beethoven selection, though

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{| pianist out of the hinterlands.

provided the only lyric interlude. Elsewhere were two of the Debussy Etudes, Jiszt’s “Feux follets” and finally, for the most amazing of the evening's pyrotechnic delights, the player's own Variations on a Theme from “Carmen” Chopin, the lion of the occasion, provided two of the encores, another Etude and the “Minute” waltz. (In this latter item : the piano’s middle B flat refused to cooperate with Mr. Horowitz in the trill at the end of the waltz’ middle portion. The pianist almost stood up to finish the piece as he gazed quizzically at the offending hammer and strings.) Finally, by way of quiet benediction, came the Brahms A Flat Waltz.

Disciple of “Grand Manner”

In this undeniably orchestral decade, it was particularly good to hear Mr. Horowitz again. We have had keyboard giants among us'as orchestra soloists in the last five years, and piano teams galore. But recitals by visiting pianists have been about as common ‘as performances on the lute or viol de gamba. Aside from Jose Iturbi and Poldi Mildner, it’s hard to remember a recital by a top-ranking visitor since the early 1930s. It is also good to recall that the virtuoso conductor and violinist have not entirely crowded the virtuoso And Mr. Horowitz is not only an eminent virtuoso, but a disciple of the “grand manner.” He makes no apologies for the piano, It is to him still an instrument -capable of eloquent - utterance and great “| sonority. Consequently his affections are for the Romantic composers, rather than for the tongue-in-cheek conceits which comprise so much of the post-Debussy piano literature. We may, therefore, be thankful for Mr. Horowitz’ recovery, and thankful to the Martens series for bringing him here. And in addition to his playing, Mr. Horowitz deserves a special and extra word of gratitude. Confronted on his first appear-

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ance with Indianapolis’ senseless and annoying “tradition” of listening to music in utter darkness, Mr. Horowitz rose to the occasion. After his opening group he’ ordered the house lights turned on. \ May his tribe increase!

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