Part of the bigger picture

Leopold Stokowski conducted the American premier of Berg’s opera Wozzeck in 1930 (a joint effort of The Philadelphia Orchestra, the Phildelphia Grand Opera, and Curtis Institute).  Abram Chasins recalls a rehearsal:

I attended his second rehearsal with the orchestra in the pit and singers on the stage.  After some twenty minutes of singing and acting, often at sixes and sevens, Stokowski stopped the rehearsal and addressed the principle singers very quietly: “I want you all to understand something,” he said.  “Get rid of the absurd  idea that nothing in this opera matters except what you do individually, and how your voicdes sound.  Don’t you understand that you are only part of a whole dramatic entity?  You have no regard for operatic integrity.  You are vain; you want personal applause.  It is all very inartistic, and I will not put up with it.  If you can’t take this correction, just leave.”

Needless to say, no one left.

 Source: Chasins, Abram (1979) Leopold Stokowski: A Profile.  London: Robert Hale, p.130


Featured Content

Bright Sunny Day
Title: Bright Sunny Day Composer: Greg Smith Instrumentation: Piano Duet Level: Piano I – level I (5 finger position, left and right hands) Product medium: PDF score & MP3 accompaniment track (Audio sample of accompaniment track only)
How to get an audience
Johannes Brahms and the violinist Eduard Remenyi had been concertizing to great success in Cello and Lüneberg.  By this time the two musicians were so elated over their success that they decided to try a concert in the city of Hildesheim entirely on their own.  They had no one there to herald their coming, write […]
The Queen Stands at Your Right Hand (MP3)
Title: The Queen Stands At Your Right Hand Text: Psalm 44 (45): 10-12. 16 Composer: Greg Smith Performer: Greg Smith Instrumentation: Piano Product medium: MP3 recording     Related products:     – The Queen Stands At Your Right Hand – Piano solo (score)     – The Queen Stands At Your Right Hand – SATB and piano (score) Sample:
Taste and See the Goodness of the Lord – Psalm 33 (34)
Title: Taste and see the goodness of the Lord Text: Psalm 33 (34): 2-3, 4-5, 6-7, 8-9. Alternate verses: 16-23 Composer: Greg Smith Instrumentation: SATB and piano Product medium: PDF score and part Sample:
Tchaikovsky and the village children
Tchaikovsky lived in a village Maidanovo.  When Tchaikovsky would go for works, he would also be hailed by groups of village children.  As Sofya Nikolayevna recalled: “They had discovered the times he went out and, as he always liked to gave them something, sweets or a coin, they used to lie in wait for him.” […]
Trust yourself
All this, my friend, will time provide, And of itself, itself will give; Soon as you in yourself confide, You know the way to live! — Mephistopheles to Faust Johann Wolfgang von Goethe, Faust: A Tragedy, translated by Lewis Filmore, (London: William Smith, 1847), p. 79. First published in the German as Faust: eine Tragödie, […]
Any room for me?
“Arthur Rubinstein was standing in the lobby of a concert hall proudly watching the audience filing in to hear one of his recitals.  Finally, when the last one had gone in, Rubinstein made a move to enter.  An usher blocked his way.  ‘Sold out, mister’, he said, and to reinforce his words he pointed to […]
Playing by the mood of the audience
Rachmaninoff sent fellow composer/pianist Medtner his Corelli Variations.  He wrote: I played them here about fifteen times, but of these fifteen performances, only one was good.  The others were sloppy.  I can't play my own compositions!  And it's so boring! Not once have I played these all in continuity.  I was guided by the coughing […]
Older version of Molly Malone discovered
A tiny 18th-century book has turned up in Hay-on-Wye containing the earliest known version of Sweet Molly Malone, almost a century older than Dublin’s unofficial anthem. Maev Kennedy, “Tart with a cart? Older song shows Dublin’s Molly Malone in new light”, The Guardian, 18 July 2010. Click here to view article
Difficult music is the easiest to play
Scriabin’s fiery D#-minor Etude, with its relentless triplets and huge leaps, used to just fall under my fingers, while the Lento final movement of the Copland Sonata was a minefield of wrong notes. Why is that? Is it just because we practice hard music 20 times as much as easy music, or is it psychological, […]