Word: leginska
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Woman's Symphony One hundred assorted women got behind musical instruments in Manhattan last week and let themselves go. In her usual ministerial frock,* Conductor Ethel Leginska stood before them, driving, cajoling, exerting all her high-pitched energy toward making them realize, as she obviously did. that the d�but of a national Woman's Symphony Orchestra is a highly important occasion...
...public will support it, or if a backer can be found, the Woman's National Symphony Orchestra plans to be a permanent, touring organization. Conductor Leginska will pack up her spare frock-coat then. Violinist Eileen Mayo will abandon the schooner aboard which she lives. Horn-playing Suzanne Howitt will leave the women's club of Teaneck, N. J. Eight other ladies will shoulder their double-basses, pretty Doris Smith her colossal tuba...
...Leginska's women face severe obstacles. People seem loth to subsidize a woman's orchestra. No matter how creditably a woman may play, she can rarely get symphonic training.* Women who play wind instruments are additionally handicapped by the fact that they look funny blowing. Until this year the Chicago Woman's Symphony, conducted by Ebba Sundstrom, a dentist's wife, had men play the difficult winds. But in Manhattan last week there was stout Edith Swan to play the trombone, Amy Ryder, 60 years old and deaf, to lead the French horns. They did not worry about appearing ridiculous...
There were no lady conductors then. Leginska was a pianist who felt herself frustrated. She disappeared several times when she was scheduled for concerts? and got headlines. All the time she was studying orchestra, working day after day for 20 hours out of the 24. She got the results she wanted. She was invited to conduct in Manhattan, St. Louis, Los Angeles. Berlin, London, Paris, Munich. She founded a woman's symphony in Boston, took it on tour for two seasons. She conducted the Chicago Woman's Symphony, helped instruct Lady Conductor Sundstrom (who last week said that interest...
...this, by some consciously & by others unconsciously, was taken into consideration last week when Conductor Ethel Leginska put the Boston Women's Symphony Orchestra through the paces of its first concert. She played Weber's Oberon overture, Frederick Delius's C Minor Concerto, Beethoven's Fifth Symphony and Tschaikovsky's Nutcracker Suite. The overture and the Tschaikovsky fragments were best: the concerto with Pianist Reginald Boardman for soloist was soso; but the splendor of the Beethoven was lost. It had slipped away between individual passages and spread into nothingness. The audience, however, was kind. Loudly...