Word: maestro
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...conceded a place at the top of his profession ; and few have ever rated a job as chief of even a second-rate U. S. symphony orchestra. A rare exception is the Kansas City Philharmonic's Karl Krueger, who last week completed a tour of Italy as guest maestro with the Budapest Philharmonic Orchestra. Fuzzy-headed, cigar-puffing Krueger, who during the past four years has put Kansas City, Mo., on the symphonic map, was born in Atchison, Kans...
...very seldom awarded to U. S.-born aspirants, full-fledged conductorships almost never. U. S. audiences, long accustomed to judging other types of musicians impartially on their merits, still flock more eagerly to hear a fourth-rate foreign conductor than to hear a fairly well-equipped and conscientious native maestro. Boards of directors of U. S. symphony orchestras, sometimes influenced by socialite patronesses, usually demand colorful or famous personalities. Current in orchestral circles is the remark of a well-known pianist's wife:* "When a conductor in Europe has a love affair, the result usually is a child...
...Europe but have launched their careers there. European opera houses will occasionally take on a U. S. student for odd jobs. Second-rate European orchestras can usually be hired for concerts. But hiring a loo-man orchestra to practice on is a luxury that only a very liberally financed maestro can afford...
Next Monday is Harvard Night at the Pops. The program will be divided into three parts, with a guest conductor for each group of pieces. First visiting maestro will be Ernest Hoffmann '18, who has proved his ability to many Cambridge music lovers in his former conducting of the State Symphony Orchestra. He will present a march by Strube called "Harvard Cruiser." This will be followed by von Weber's Overture to "Oberon," with Three German Dances by Mozart and Dvorak's "New World" Symphony bringing the group to a close...
...When he has finished, a small child scampers up to him, followed by her parents. He greets them, agrees to play as an encore the first movement of Beethoven's Moonlight Sonata. Later, over the brandies, one of those inevitable cough & spit drawing-room pundits quizzes the old maestro on what seemed to him an extraordinary departure from concert-hall form-playing the Sonata as an encore. Quietly. Paderewski starts to explain what the Sonata has meant in the lives of the three he played it for. The camera takes over, tells as prosy a potboiler story as cinema...