Chicago Tribune du lieu suivant : Chicago, Illinois • 101

March 24, 1940 Page Nine a T. 191011V, '1 MSSZ -i'-. A 4 71, i4 I I lv 7 1 1- tt.1 13' I it 4 it 1. ta 11,1:4 I '1 F. 1,11 ,1 1 I rStw't -71 A IA 1 14, 1 ti ,1 Iit) .,,..:4:.

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....4 ....4 i i I Itc, It 4. 4- '1'. ti vg is.64.- PI The Chicago Symphony orchestra. Frederick Stock. conductor.

stands at the center. Hans Lange. associate i 1 conductor, is seated in front of Mr. Stock. (Kaufmann Fabry photo.) ir 6 k.

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1 't-'7 (1; 01. 0 .441 4t, 4 I It- ,3, I 10 D't 13MMI kp IFS 1 FLUTES III al 'et PICCOLON C3 BC) 1 qt -101LNI el 410 4, 464 OLAS to A 0 0 RS etw4, 4 This is Leopold Stokowsld's radical rearrangement of the Philadelphia orchestra. Brasses and wood winds are down front. strings back. This is another version of the traditional seating arrangement The symphony orchestra conducted by Arturo Toscanini keeps its strings forward.

One Radical Realignment Highlights a Tradition This diagram of the seating plan of the Chicago Symphony orchestra is one version of traditional arrangement. By EDWARD BARRY k1 i'''. cc. ngb '''4'. IMN f- 4,: 44p1.

rittlot k' I.4;" I 1 I t''': tp .01.6 Nilk L. STOCK TOSCANINI The tonal weight of the right rear (in the old arrangement) made proper balance almost impossible. The Chicago orchestra once tried an experiment almost as novel as Mr. Stokowskra present one. All of the strings were put on the right side and all of the wind instruments on the left.

This looked logical enough, but it just didn't sound. In reference to the problem of orchestral seating in general Mr. Stock recently said: "We have found that the present arrangement of the orchestra is best suited to the acoustical properties of Orchestra And that is that. Mr. Stock, conductor of the Chicago Symphony orchestra, has arranged his orchestra by ear, as It were.

If a certain position gives the best tonal result in Orchestra hall, then that position is the best. Convenience and eye appeal are important, too, of course, but hardly as important as sound. The present seating arrangement of the Chicago orchestra, as diagrammed above, repre- sents the result of decades of experimentation. Three years ago an important change took The brass instruments, whose tone does not always blend easily with that of the rest of the orchestra even in the conventional seating arrangement, are apt to be more difficult still to control when those instruments are at the front of the stage. But there is too much theory in all the above and too resolute an avoidance of an important factor in orchestral seating.

That factor is the shape and the acoustics of the hall in which the orchestra habitually plays. isfy the desire of the audience both to hear and to see a person holding such an important post. The audience will see much idleness for brasses, wood winds, and percussions rest frequently and for long periods and a suspicion may conceivably arise that a full money's worth is being withheld. What would a thrifty concertgoer think of the trombones, which in Beethoven's Fifth symphony are denied so much as a single sixteenth note until the very last place when the percussion Instruments were moved from the right rear to the left rear in order to get them away from other highly sonorous Instruments such as the heavy brasses. Now! 'AM rings you tl.is Great New Imtrovement teauty Soas! Let Camay help you to a Lovelier these 1 7 ilt Three Wonderful Aids to Beauty Cleansing! IN THE EAST this year public and critics are much exercised over the seating arrangement of the symphony orchestra.

Leopold Stokovvski, who has probably garnered ore headlines and feature articles than any other conductor alive, is harvesting a new crop now by reason of the boldness of his recent challenge to tradition. He has picked up the string section and transferred It bodily to the back of the stage, bringing forward in its stead such long-hidden instruments as flutes, oboes, clarinets, horns, trumpets, trombones, and even percussions. Experiments in the seating arrangement of the orchestra are an old story, but such experiments have usually been carried on in such a way that basic traditions have not been disturbed. These basic traditions require that the smaller strings by far the most numerous, most used, and most important orchestral family should be down front I in close touch with conductor and audience. These traditions require also that brass Instruments and dou- STOK ble basses (those poor relations of the string quartet) should be kept in the background and compelled to perform their relatively small tasks in obscurity.

Past experimenters, instead of challenging the soundness of these general ideas, would merely change the position of violas or second violins within the string section or shift whole small choirs (the wood winds, for example) from one part of the platform to another. In comparison with these conservative changes Mr. Stokowski's action is as radical as that of a football coach who should decide to place all of his backs slightly in advance of the line. A glance at the above diagrams of the Chicago Symphony orchestra and the orchestra conducted by Arturo Toscanini will acquaint the reader with the conventional seating arrangement and will demonstrate the fact that this conventional seating arrangement is not absolutely rigid. Frederick Stock and Mr.

Toscanini agree on major points but disagree on several minor ones. The former likes the cellos bunched cozily in front of him; the latter puts them to his left, behind the first violins. The former keeps his brasses to the extreme right; the latter has them directly in front of him. Even the most perfunctory study of the diagram of the Philadelphia orchestra will serve to establish the fact that grams I orchest ducted acquair conven ment a fact th4 ing ar lutely and 3,1 major several likes th front them tc brasses the lati front Even study 4 Phi lade serve t4 c- vine v-- 4, I Mr. Stokowskrs ideas differ radically from those of his colleagues.

concertmaster (principal first violin), who traditionally occupies the place of honor at the front of the stage and right under the conductor's left hand, now must peer at his chief thru rows of clarinets and flutes. The cellists, who in other days could actually go thru life without ever seeing a bassoon, now find that instrument directly in front of them. The advantages of the new arrangement are as follows: It brings forward flutes and clarinetswhich are soft of tone and few in numberand permits their tone to reach the audience without having first to cut its way thru the great mass of strings. It exploits the acoustical values of the curving back of the typical shell- shaped stage, giving the strings a es o. nance and carrying power greater than 1--- they had in their old 1' I position.

(This ad- 1,.. vantage, it will be no ticed, is not entirely py, i consistent with the first one listed.) It gives people who WM come to concerts to look as well as listen (and this includes virtually every member of the audience) an opportunity to get acquainted with other instruments besides strings. There are concertgoers of years' standing who cannot distinguish unerringly between the oboe and the clarinet. With these instruments up front their appearance and character will become much better known. It reunites the strings after generations of separation.

The string basses have always stood along the back wall, and In Mr. Stokowski's arrangement they continue to do so. Now, however, their proud cousinsviolins, violas, celloshave at last come back to Join them. And here are some disadvantages of the new system: It banishes the most important sections of the orchestra (the strings) to positions back of the wood winds and endangers the rapport between the conductor and his hardest working men. Even a few extra feet of space and a wall of clarinets and flutes may become a formidable mental hazard in any activity as highly emotionalized as music.

And of course it banishes the concertmaster along with his lesser fellows. The conventional position of this dignitary (who plays many solos, who leads his section and sometimes the whole orchestra, and who traditionally represents all the players) has been such as to sat OWSICI cL 1. ...1 4 11. "A PERFECT BEAUTY SOAP!" flood this interesting letter from Mn s. George D.

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