Stokowski and his audience

The conductor Leopold Stokowski had a love hate relationship with his audience:

He wooed them and cajoled them, flattered them and then gently reproved them.  When they grew fidgety, he shamed them into attentiveness and concentration.  “Please don’t do that,” he once admonished an audience of program shufflers.  “We work hard all week to give you this music.  Now you must do your part.  I’m here to give you my best.  If you don’t want it, then I’ll give you nothing.”

This was one of his many set speeches, memorized and repeated almost verbatim, time and time again before new audiences that displayed anything less than worshipful attention.  Later, when his programming grew more adventuresome and the audience grew liberated enough to hiss, Stokowski was cunning and hedged, saying, “That’s all right! If you feel strongly enough and need to express your feelings, that’s good! What is bad is to sit and feel nothing!”

Chasins, Abram (1979) Leopold Stokowski: A Profile.  London: Robert Hale, p.35.


Posted

in

by


Featured Content

Rachmaninoff on music
“What is music? How can one define it?  Music is a calm moonlit night, a rustling of summer foliage.  Music is the distant peal of bells at eventide.  Music is born only of the heart and it appeals to the heart.  It is love.  The sister of music is poetry and the mother – sorrow!” […]
A Swan (Ein Schwan) (Grieg)
Title: A Swan (Ein Schwan), op. 25, no.2 Composer: Edvard Grieg Arranger: Greg Smith Instrumentation: Cello and piano Product medium: PDF score and part Sample:
The artist should not be shabbily treated
“I like honesty and sincerity; and I maintain that an artist should not be shabbily treated.” – Beethoven, in a letter to C. F. Peters, 5 June 1822 E. Anderson, Letters of Beethoven (1961), cited in Oxford Dictionary of Quotations. United Kingdom, Oxford, OUP Oxford, 2014.
A duet under the bed
It was in the eventful year, then, of 1813—the year of “Il Figlio per Azzardo”, with its obbligato accompaniment for lamp-shades of “Tancredi” and of “L’Italiana in Algeri”—that Rossini was writing one morning in bed, when the duet on which he was engaged fell from his hands. “Nothing easier”, an ordinary composer would say, “than […]
Context and beauty
“When you’re young, you can be taken with the impulse of the moment and the beauty of a phrase, but the older you get, the more you see that the phrase is only beautiful because of the context within which it works.  The melody is only the outward manifestation of something quite deep inside and […]
The political function of music
“There can be no music without an idealogy. The old composers, whether they knew it or not, were upholding a political theory. Most of them, of course, were bolstering the rule of the upper classes. Only Beethoven was a forerunner of the revolutionary movement.” – Dmitry Shostakovich Cited in: Nettl, Paul (1969) The Book of […]
A musical use for trash
Favio Chávez, a technician at a Paraguayan landfill site, formed the the Cateura Orchestra of Recycled Instruments: an orchestra comprising of the children of landfill works. The orchestra was designed to encourage musical education in an low socio-economic area. A violin would hold more value than a landfill worker’s house. However, by creating instruments out […]
Music is for me to play
“You claim that I write monstrosities which only the composer can play. What if they were meant only for the composer?” Kaikhosru Shapurji Sorabji to his friend Peter Warlock. Cited at: Wikipedia
Beethoven on music
“Music is the mediator between the spiritual and the sensual life.  Although the spirit be not master of that which it creates through music, yet it is blessed in this creation, which, like every creation of art, is mightier than the artist. — Beethoven Edwards, Tyron (1891) A Dictionary of Thoughts.  New York: Cassell Publishing […]
Success is a staircase
“Success is not a doorway, it’s a staircase.” — Dottie Walters