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這是這個影片的宣傳片（Theatrical Trailer）中的台詞！因為很難再有這種「眾星雲集」，各大當代頂尖音樂家集聚的影片了！
台灣並沒有這個DVD，
它有兩個封面版本：藍色、橙黃色（請見上方圖片）。
←TERRIABLE! DON'T BUY IT! 會買兩個，是因為以為這兩張DVD不是同一個。
藍色版本有標上「2005(年)」，當初以為是重新編製或是另一種合輯，
但...買回家看了以後才發現兩張內容一模一樣...冏。
橙黃色封面的版本是上上選！除了影片還有附很多其它資料。
藍色封面版...實在不知能不能算合法的 D 版品質...冏。
畫質奇差無比、過曝又模糊（以正版而言真的很爛）！活像是非法翻拷的！
聲音還有爆音雜音！對這種音樂影片而言是致命傷！
所以接下來，個人就直接就橙黃色的版本來敍述，忽略藍版。
Well，這種影片，首先要有正確觀賞態度：劇情不重要！劇情是為了帶出一大堆頂尖大師的演出！劇情本身合理性或深度其實根本不是重點...。如果有人要用很專業影評人的態度來觀賞本片劇情...，那奉勸不要看！你會把它評得一文不值！但在音樂賞析上，這部片應該算是史料級的重寶！
◎碟片（影片）品質：
相當好！看得出有經過處理和修復！沒有老式影片交錯掃描的橫紋問題，很清晰！音質也很好，聽起來清楚舒服！就連影片的索引（Scene Selection）也設計得非常好！是用不同演出來分段，並且詳細寫出每段演出者是誰、曲目、附上截圖照！充分體現出音樂賞析影片的重點和便利性！另外還附有幕後花絮的照片、宣傳短片和錄影片段。
另外也有附上一張影片片段的目錄紙，印刷很不錯，可以拿在手上查閱。影片中還有文字的劇情說明（Music Notes，英文）！聽力差的可以慢慢看也能看懂。而且影片幾乎是全區的（無第7、8區），沒有被鎖的問題。就是...沒字幕...XD！但劇情上很簡單，就算聽來不及，看圖說故事也能猜個七七八八。
◎秘辛（？）：
其實，此片的催生本來就是由於想要製作出一部很棒的音樂教材！因此努力公關周旋才使一群大咔集合在一起拍個影片，所以，本來就不是在做劇情的電影，骨子裏就是教學和記錄片。所以，要罵它劇情多白痴的人...請繼續罵，大概不可能要求他們只看音樂部份吧...XD！就像最近的「浴血任務」（The Expendables, 2010），賣的是那份大頭雲集和老式硬漢片的感動！喜歡那調調的人會把它視為難逢之作（光看到老史、阿諾、老布三個一起聊那一小段就會覺得值一大半了：Ｐ），看完大概心情超爽！但講究劇情的人看完大概會覺得是智障、讓人看到睡著的大雷片吧？
◎劇情簡介（捏多，不喜請跳過）：
Tony 在 Carnegie Hall 排練時認識了在 Carnegie Hall 做清掃工的 Nora！兩人相戀結婚、並育有一子 小Tony。後老 Tony 意外摔下樓梯身亡（...），Nora 努力想要培養小 Tony 成為能登上 Carnegie Hall 的音樂家，並且借著工作之便，讓兒子從小就一直觀摩在 Carnegie Hall 各大師的演出。時間流轉，中間穿插很多當代頂尖音樂家的演出。Nora 後來成為 Carnegie Hall 的管理者（？），並也對很多有才華的年青音樂家伸出援手，而小 Tony 最後也登上 Carnegie Hall，完成夢想。
雖然...，封面說是「音樂愛情故事」，不過說真的，故事很少...，愛情也很少，因為演出中男女主角的追求史超短、老 Tony 掛超快！愛情到此就結束...XD！剩下是養兒子。影片重點其實是在各大師的表演上。
◎關於演員（還是有捏）：
應該音樂家全都是當代數一數二的。不過，我一開始真的只認識 Heifetz，演員我也認不得。以劇情而言，其實沒什麼演員可介紹的...，因為他們幾乎都是在扮演自己，在「劇情」上插一腳，實際上就是大家輪流出來表演一段。「劇情」上的要角其實真的就只有女主角 Nora 和他兒子 Tony 而已（更嚴格的說甚至只有 Nora...，從年輕演到老）。其他音樂家雖然都是頂尖，但在「劇情」上卻全都是客串...。所以...，只介紹幾個「演員」就好了...。
●Marsha Hunt（19171017～？）：
飾 Nora Ryan。貫穿全劇的角色，以「劇情」而言她應該是唯一的主角！從年青時演到老，全片最發揮「演技」的就是她了。劇中的 Nora 在失去丈夫後，她不僅努力教養兒子、培育其音樂才華，而且也幫助其他孩子。Marsha Hunt 是位很有才華的女星吧？拍過的戲相當多！但好像一開始跟的東家MGM很不合適...？只有大概看看她的星史，希望她能過得快樂健康。
●Hans Jaray（19060624～19900106）：
飾 Tony Salerno Sr.，就是老 Tony。說他「老」只是要和劇中的兒子區別而已，因為父子兩同名。劇中的老 Tony 到後來想要演奏不同的音樂，但還沒機會表現就摔下樓梯掛了...@@，所以在劇中根本來不及老...。來自 Austria 的他，口音很重，聽他說英文蠻辛苦的...冏。但他是個多才的人，能寫能唱又能演，也許這是選他飾演此角的原因之一，因為有不少親自彈奏的片段。
●William LeRoy Prince（19130126～19961008）：
飾 Tony Salerno Jr.，就是小 Tony。這個演員的名字很奇特，姓就是「Prince」（意思就是「王子」），所以一開始查他時有點困擾，怎麼查都跑出英國皇室的那一位...XD。小 Tony 為了母親，一開始都照著母親的夢想走，但後來和老爹一樣，想走出新風格的音樂！一度很反抗「Carnegie」這個名稱。但後來還是走出自己的音樂登上Carnegie。在此劇中，小 Tony 的戲份遠比 老 Tony 多，可能因此在演員表上較前面？但現實中的 William Prince（Actor）的演出似乎相當駁雜？好像什麼小角色都來者不拒？雖然得到很高的曝光率，但相對讓人有印象的角色似乎也就沒那麼多。
●Frank McHugh（18980523～19810911）：
飾 John Donovan。Nora 和 Tony 的朋友？留著海豹鬍子的老先生。這位演員最早是出身 Broadway，後來被華納兄弟簽下，之後就常扮演很多戲劇中「主角身旁的那一位」...。演過的戲很多！
●Martha O'Driscoll（19220304～19981103）：
飾 Ruth Haines。小 Tony 的女友，後來成為其妻子。現實中，其演藝生涯到1947年後就很難再查到了。
●Joseph Buloff（18990120～19850227）：
飾 Anton Tribik。老 Tony 的朋友之一，戲份不多。Joseph Buloff 出身 Russian（今天的 Lithuania），所以...英文聽起來也是粉怪...；在 Yiddish Art Theater 很有名的演員。
◎關於片中的 Heifetz：
老實說，就是知道 Heifetz 有在本片中演出才買的。他演的還是自己，看起來明顯比1939年的「They Shall Have Music」中老很多...（過了八年）。有一段 Heifetz 很有名的 Tchaikovsky D 大調小提琴協奏曲的影片就是從此片中擷取的。而在這段柴D剪輯視頻中，有出現一個和 Heifetz 對話的女性，就是劇中主角 Nora！劇中的 Heifetz 稱讚 Nora 提攜後進，而 Nora 卻認為真正有幫助的是 Carnegie Hall（可能指這大廳給了音樂家們憧憬、標的、還有觀摩學習），Heifetz 便伸手轉過了 Nora 的臉，注視她並用強調的口氣說「But, Nora, You are Carnegie Hall!」，妳令我（Heifetz）自愧不如（這片子是要作教學，也許想鼓勵作育英才吧？）！所以，劇中可沒什麼曖昧喔（單看這段時會有點誤會...XD）！坊間一直都是說，「They Shall Have Music」是 Heifetz「唯一」演出的電影，但卻幾乎不太提這部...，也許是因為它幾乎...不像電影吧（根本是音樂家演出大會串）？所以，嚴格說，Heifetz 演出過「兩部」電影，但一般最常說的是「They Shall Have Music」。
◎關於缺乏字幕...：
一般而言，外國的影片多半缺乏字幕（MacGyver影集有喔！）。但...，個人覺得：
"Carnegie Hall（1947）" needs Subtitles INDEED!
（"Carnegie Hall (1947)" 一片很需要有字幕）！
努力聽大能聽得懂八成以上吧？畢竟劇情不是那麼重要。但因為很多人的英文有很重的方言腔調（像 Hans Jaray 來自 Austria、Walter Damrosch 來自Germany、Joseph Buloff 來自 Russian...），要重覆聽多次才能確定他們倒裏是說啥！尤其是劇中很多音樂家們多半不是美國土生土長的，說出的英文真讓人覺得聽得好辛苦...XD！雖然的確沒什麼很艱澀的句子或用字。我是不知道外國人是否都能無視這些發音的問題...（以前是曾聽老師說就算唸得難聽，只要「重音」對外國人都能聽懂），但音樂賞析的影片應該較無國界嘛？既然有重製過，何不加個字幕方便不同國的人觀賞呢？英文的字幕也很好啊！當然，這些也只不過在自己的BLOG說說而已！基本上此片的DVD品質已比超級陽春的「They Shall Have Music（1939）」好得太多了！
◎曲目介紹（Scene Selection）：
1. Opening Titles:
Beethoven's Fifth Symphony, Second Movement [1:55]
(Walter Damrosch was playing in this scene.)
2. Rehearsal:
Tchaikovsky's First Piano Concerto In B flat minor [12:27]
(Walter Damrosch was playing in this scene.)
↑↑Walter Johannes Damrosch(18620130～19501222)德裔美國指揮家和作曲家。
3. Opening Night:
Beethoven's "Lenore" No. 2 Overture;
Tchaikovsky's First Piano [6:49]
4. Dinner Party:
Schumann's Quintet in e flat major, Second Movement [3:04]
5. Wedding March:
Wagner's Lohengren;
Mendelssohn's A Midsummer Night's Dream [12:25]
6. Wagner's Prelude: to Die Meistersinger [5:42]
Performed by Phiharmonic Orchestra,
Conducted by Bruno Walter.
↑↑Phiharmonic Orchestra。
↑↑Bruno Walter(18760915～19620217)，德裔美籍指揮家(猶太人)。
7. The Bell Song:
Delibes's Lakmé (Lily Pons soloist) [5:53]
↑↑Lili Pons(18980412～19760213)，法裔美籍花腔女高音及演員。
8. The Swan:
From Saint-Saëns's La Carnaval des Animaux,
Gregor Piatigorsky cello [5:05]
↑↑Gregor Piatigorsky(19030417～19760806)，美籍俄羅斯大提琴家。
9. Mon cœur s'ouvre à ta voix:
From Saint-Saëns's Samson and Delilah, Second Act;
The Seguidilla from Bizet's Carmen, Rise Stevens solo[1:55]
↑↑Risë Stevens(19130611～?)，美籍女中音。
10. Beethoven's Fifth Symphony: Fourth Movement [4:53]
New York Philharmonic Orchestra, Conducted by Artur Rodzinski.
↑↑Artur Rodzinski(18920101～19581127)，波蘭指揮家。
11. Ritual Fire Dance:
Chopin's "Polonaise," Opus 53;
"Ritual Fire Dance" from De Falla's El Amer Brujo,
Artur Rubinstein piano [9:06]
↑↑Artur Rubinstein(18870128～19821220)，波蘭裔美國古典鋼琴家。
被認為是20世紀最偉大的鋼琴家之一！
12. Music Lessons:
Chopin's Waltz, Opus 64, No. 2; "Nocturne" [5:15]
13. O Sole Mio: diCapua,
Jan Peerce solo [2:55]
↑↑Jan Peerce(19040603～19841215)，美國男高音。
14. Pinza Does Giovanni:
"II Lacerto Spirito" from Verdi's Simon Boccanegra (prologue);
"Finch'Han Dal Vino" from Act I Scene IV of Mazart's Don Giovanni;
Ezio Pinza solo [1:57]
↑↑Ezio Pinza(18920518～19570509)，意大利男低音。
15. The Pleasure's All Mine:
The Vaughn Monroe Orchestra [3:07]
featuring Martha ODriscoll.
↑↑Martha ODriscoll(19220304～19981103)，這位女演員自小受歌舞訓練。
16. Beware My Heart:
The Vaughn Monroe Orchestra,
Vaughn Monroe solo [4:29]
↑↑Vaughn Monroe(19111007～19730521)，美國男中音、號手、樂團領隊及演員。
17. Tchaikovsky's Violin Concerto:
in D major, First Movement,
Jascha Heifetz violinist, Fritz Reiner conducting [13:45]
↑↑Fritz Reiner(18881219～19631115)，二十世紀著名的交響樂及歌劇指揮家。
↑↑Jascha Heifetz(19010202～19871210)，二十世紀最偉大小提琴家之一。
18. Stokowski Takes the Stand:
Tchaikovsky's Fifth Symphony, Second Movement,
Leopold Stokowski conducting [20:50]
↑↑Leopold Anthony Stokowski(18820418～19770913)，
出生於英國後歸化美國籍的指揮家。
19. "57th Street Rhapsody":
("All the World Is Mine") Harry James trumpet[7:41]
↑↑Harry James(19160315～19830705)，美國小號手，曾帶過爵士樂團。
◎相關連結：「Carnegie Hall（1947）-IMDb」
◎Music Note（找遍網上沒有，只好自己打，非常長）：
Carnegie Hall
Its Music and Its Teaching Possibilities.
Detailed
Program Notes Compiled by the National Film Music Council 1947.
INTRODUCTION
The National Film Music Council is pleased to provide its readers with this special issue of Film music Notes devoted to Federal Films Productions' musical picture CARNEGIE HALL.
The material in this release is the combined opinion of a group of music educators who were students of the 1947 Summer Session, Teachers College, Columbia. We are indebted to their teacher, Mr. William C. Hartshorn, visiting instructor at Columbia and Director of Music, Los Angeles Public Schools, whose cooperation made it possible to bring these people together for a showing and discussion of the film.
This committee agreed that CARNEGIE HALL is a film that deserves the attention of all who enjoy the best in music. It presents to the general public the opportunity to see and hear fourteen classics performed by artists whose interpretations of these works are internationally conceded to be of the finest. Realizing that such a film was a daring financial undertaking on the part of it's producers, these educators feel that all musicians truly interested in the advancement of musical culture in our country, should help to assure it's success.
The teaching possibilities are inexhaustible and cover a long age range. There is appeal to the advanced music student through such performances as Walter's conductiog of the Prelude to Die Meistersinger and the young will be charmed by Piatigorsky's rendition of The Swan. The Young Reviewers of the National Board of Review proved that children from eight to fourteen find it very much to their liking. The presentation and the depth of the learning derived will naturally depend upon the musicianship, maturity and present interest of the student.
The committee believes that this film is of such musical worth that it warrants support and instigation in planning special showings for students and musical groups.
The committee was unanimous in its opinion that a fuller appreciation of this picture would be possible through preparation, that it would be most valuable for students to have previous information regarding the music, performers, the occurrence of the music in the film, and suggestions for its use educationally.
The following release, written by Stanlie McConnell, chairman of the Educational Review Committee of the National Film Music Council, is based on these suggestions. We hope that you too will find the enclosed materials stimulatiog and useful.
Sincerely,
Grace Widney Mabee
Founder-Chairman
National Film Music Council
1947
NOTE:
The essay has been divided into sections to correspond with the chapter breads of this DVD.
CARNEGIE HALL
Its Music and Its Teaching Possibilities
By Stanlie McConnell
CHAPTER ONE
The Second Movement of Beethoven's Fifth Symphony is the first music heard in a film that overflows with truly great music. It is played during the showing of the titles and is then replaced by the familiar sounds of the tuning up of an orchestra as the camera takes us into the hall, "Carnegie Hall, where for sixty years people have listened to music. "
CHAPTER TWO
Inside we hear Tony Salerno rehearsing the Last Movement of Tchaikovsky's First Piano Concerto in B Flat Minor. The soloist and conductor are having difficulty with the tempo and interpretation. They stop and start again. It is no better. "It is Salerno, not Tchaikovsky," insists Walter Damrosch, the conductor. Tony leaves in anger. Nora, who has been listening as she cleans the back part of the hall, tries to pacify him.
The rehearsal ends. Nora works on. She likes being there alone. Her friend Donovan, an attendant, connot understand it, but to Nora the hall is filled with the vibrations of past great performances. She recalls her first visit in 1891, an orphan child just arrived from Ireland.
CHAPTER THREE
The time changes. It is 1891. A concert is in progress celebration the opening of Carnegie Hall. The orchestra is playing the Lenore No. 3 Overture by Beethoven.
The overture finished, Mr. Damrosch discovers small Nora and finds a place for her to hear the remainder of the concert. Tchaikovsky is the guest conductor. He raises his baton and we hear a portion of the First Movement of his Piano Concerto in B Flat Minor.
The opening of Carnegie Hall, indeed an important and picturesque event in the cultural life of our country, is most interestingly described in Ethel Peysor's book THE HOUSE THAT MUSIC BUILT. Since this book is out of print, I am quoting several paragraphs that bring this historic date to life.
"In the spring of 1891, Carnegie Hall, which had been built by Andrew Carnegie as a home for the higher activities of New York, was inaugurated with a music festival in which the New York Symphony and Oratoric Societies took part. In order to give this festival a special significance, I invited Peter Ilich Tchaikovsky, the great Russian composer, to come to America and to conduct some of his own works. " --- Walter Damrosch
"Society flocked through the long brick building with its mansard roof - the NEW MUSIC HALL - as yet without its twelve-story tower. Long before the doors were open, the streets were lined with carriages, and the great and the near-great peopled the boxes, parquet, and balconies. From the boxes listened and gazed the Carnegies, the Depews, the Townsends, the Frenches, the hoyts, the Schermerhorns, the Posts, the Schieffelins, the Potters, the Otises, the Blaines and a host of representatives of first families, second families, and 'no families at all. '
" 'The audience, ' said THE NEW YORK HERALD' was most interesting as a study of music lovers not under the pressure of mandates of fashion... There was no idea of chatter... There was no coming and going of dandies and mouthpieces... All was quiet, dignified, soft, slow, and noiseless and became the dedication of a great temple.
" 'promptly at eight, the young conductor, Walter Damrosch, raised his baton and the strains of the Old Hundred filled the house. The singers occupied raised seats on the platform, and the women, who sat five rows deep across the stage, were all dressed in pure white. Their costumes harmonized admirably with the general tone of the hall, and the effect was pleasing. Back of the female singers sat the male members of the chorus, some 200 members. The orchestra took up nearly one half of the large stage, and the members occupied seats in plain view of the spectators. ' - THE NEW YORK TRIBUNE, MAY 6, 1891.
" 'After this (the singing of Old Hundred) the national anthem was sung. Then a clergyman made a very long and wearisome speech in which he eulogized the founders of the hall, especially Carnegie. The Lenore Overture was then beautifully rendered. Interval. I went downstairs. Great excitement. I appeared, and was greeted with loud applause. The March (his own) went splendidly. Great success. Berlioz's Te Deum is somewhat wearisome; only toward the end I began to enjoy it thoroughly. Reno (president of the company) carried me off with him. An improvised supper. Slept like a log' - Tchaikovsky
The opening program on Tuesday evening, May 5, 1891 was:
Old Hundred
Oration: Dedication of Music Hall
(Rt. Rev. Henry C. Potter)
National Hymn, America
Overture, Lenore No. 3, Beethoven
Marche Solennelle, Tchaikovsky
Te Deum, for Tenor Solo, Triple Chorus
and Orchestra, Berlioz
During this festival, Tchaikovsky appeared as conductor of his own works three times. On the opening night, on May 7th, his fifty-first birthday conductiog his Suite No. 3 for Orchestra, and on May 8th conducting his Two A Cappella Choruses. Students will note that the B Minor Piano Concerto did not appear on the programs that officially opened Carnegie Hall.
CHAPTERS FOUR and FIVE
The story returns to the film's opening period, 1909. Tony takes Nora to visit his friend, a tympani player of the Symphony. "We are crazy people, " he says, "we work at music all week and come home and play it for fun. " Sensing their romantic mood, his wife and their friends play part of the Second Movement of the Schumann Quintet in E Flat Major. They begin with the second theme. While the first theme is also heard as the movement continues, the former remains in the listener's memory as it is used in the background music of the subsequent scene where Tony carries Nora in bridal dress over their threshold.
Time passes. Young Tony arrives. His father is killed in a fall. Nora devotes her life to her son's musical education. A Carnegie Hall program tells us it is the Season of 1913-14. We hear the orchestra from within playing a brief excerpt from the Second Movement of Beethoven's Fifth Symphony.
At home, young Tony is practicing the First Movement of Haydn's Sonata in F Major.
The metronome is heard ticking along with Tony's practicing, beginning a series of scenes that show that ultimate success and facility in piano playing are based on such practice. This will be useful to piano teachers and inspiring to their students. While preparing school age children to see this film, classroom teachers will undoubtedly find youngsters who can play these pieces making a desirable link between school and studio musical activities. Tony next plays a portion of Medelssohn's Spinning Song.
CHAPTER SIX
Then comes the first big musical treat, the Prelude to Die Meistersinger performed by the New York Philharmonic Orchestra under the baton of Bruno Walter. We are part of the audience for the opening portion and then are annoyed as is Donovan to be taken from the hall as he quiets a woman and remarks, "Nora is making Carnegie Hall a private school for the boy. "
Back in the hall we see and hear a fine performance of the last half of this beautiful "Vorspiel. " The camera gives us a closeup of the double basses as they make their entrance in the famed contrapuntal section. We can congratulate the producers on this photographic synchronization and choice as such a picturization is a valuable psychological aid in hearing a lower melody line.
What an incentive for further study the singing and description of these themes can be to any group not familiar with the entire opera!
This sequence is a satisfying study of Walter's conduction. Self effacing and dignified, he is somewhat embarrassed before the cameras, but his attitude, beat and gestures are typical and several times we catch that inspiring flash in his eyes so familiar to those who have been privileged to play under his direction.
CHAPTER SEVEN
The film continues to be a musical feast presenting, practically uninterrupted by the story, eight musical masterpieces. Part of the exquisite Rachmaninov Vocalises are heard as we are brought into the hall, after reading a billboard announcement that Lily Pons is to sing at Carnegie Hall. We are shown a program and learn she will also sing The Bell Song from Lakme by Delibes.
This aria, that Miss Pons has sung innumerable times with such great success, comes in the second act of the opera. Here we see Lakme and her father, a fanatical priest who is searching for the man who dared invade his holy shrine. "Sing and be gay, " he commands, "perhaps the offender will look upon you again with eyes of love and I shall know him. " Lakme Sings a ballad of the Pariah's daughter who with her magic ball cast an enchantment over Uishu, the son of the divine Brahma. As she repeats the bell-like refrain she catches sight of Gerald in the gathering crowd.
Voice students will be very interested in the formation of Miss Pons's mouth as she achieves the final high E, and will recall that she electrified the musical world on her debut by singing a half step higher than this note no the "Mad Scene" from Lucia, at the Metropolitan Opera House, January 3, 1931.
CHAPTER EIGHT
The Swan from the Carnival of Animals by Saint-Saens is next performed by Gregor Piatigorsky.
This well known melody is glamorized by having an ensemble of harps replace the usual piano accompaniment. It is one of the numbers in the picture that will appeal to the younger children. It gives the young cellist an excellent opportunity to watch the fingering and bowing of this great artist and all of us a chance to hear and watch Piatigorsky play his famed Stradivari cello.
There was great interest when he acquired this famous Lord Aylesford cello. Stradivari made but fifty cellos and of these only four remain in perfect condition. This instrument, now 250 years old, was in possession of Lord Aylesford's family for 150 years. During the production of CARNEGIE HALL, it was insured for $200,000.
This first screen appearance of this great virtuoso and greater artist whose tone Olin Downes describes as possessing every sonority and shading-an organ fullness and lyrical beauty-is sure to be a thrilling experience for moviegoers of all ages.
CHAPTER NINE
Rise Stevens performs two operatic arias well suited to her vocal and dramatic talents. Like Miss Pons, she is accompanied by a concert orchestra conducted by Charles Previn, Director of Music at Radio City Music Hall. We first hear her as she is completing the introduction and strarts the principal melody of Delila's famed song which finally seduces the powerful Samson in the second act of Saint-Saens's opera.
The Seguidilla from Act I of Carmen by Bizet follows. It is quite evident that MIss Stevens is an excellent Carmen as she dramatizes this aria that succeeds in enticing the young dragoon to free her.
In presenting Miss Pons and Miss Stevens, the film suggests a comparative study of the range and quality of women's voices and introduces three operas that have never failed to fascinate both young and old.
CHAPTE TEN
The Fourth Movement of Beethoven's Fifth Symphony is introduced by a broadcast of the New York Philharmonic Symphony Orchestra under the direction of Artur Rodzinski. We are taken into the hall over the radio antennae as the orchestra is playing the last part of the Third Movement which goes directly into the Fourth.
The picturization is excellent with many interesting views of the orchestra in action and splendid opportunities for studying Rodzinski's conduction. Students will see that his control is absolute, that he demands a oneness of conception which results in music that Ewen in "Men and Women of Music" describes as being full of "brilliance, electricity and generated energy. " It is music that not only brought crowded houses to Carnegie Hall but also the thanks of an appreciative radio public during the seasons he was music director of this famous organization (1943-47).
CHAPTER ELEVEN
For many, the high point of this picture will be the playing of Artur Rubinstein. Here we have no wandering cameras. There is no need for them, for Mr. Rubinstein's playing is the essence of action and drama. It is a visualization of piano playing in the grand manner. His prodigious technique is exemplified throughout, particularly in the difficult passages for the left hand in the Chopin Polonaise. The quick flash of his small eyes gives us glimpses of the working of his mind, the mind that makes his masterly musicianship possible. On the other hand his poetic temperament is mirrored in the melodic passages as the camera shifts from the keyboard and allows us to look directly into his face.
Musical idealists say that such a performance places the center of interest on the artist instead of on its rightful place, the interpretation of the composer's message. Perhaps this is true, but the two compositions played by Rubinstein in this film demand an artist of the bravura type.
CHAPTER TWELVE
In the meantime Nora has been promoted to an office position and Tony has grown to young manhood. At his piano in their new apartment in Carnegie Hall Tony is heard jazzing Chopin's Waltz in C# Minor Op. 64 No. 2. In horror Nora reprimands him and gives him an album which Mr. Rubinstein has sent, with the message, "Tell him to practice hard-Bach and Bach and Bach. " To please her, Tony plays Chopin's Nocturne (posthumous).
In her office, Dr. Walter Damrosch, in person, congratulates Nora on the fine work she is doing helping young people to get started in their musical careers. He recalls the first time they met, many years age on the opening night of Carnegie Hall.
CHAPTER THIRTEEN
Tony, while accompanying Jan Peerce in Carnegie Chamber Hall, meets Ruth who is there for an audition. Mr. Peerce advises her, "Learn to relax. Singing must be fun. I'll show you what I mean. " He sings O Sole Mio by diCapua well illustrating his advice, his true tenor quality pouring forth effortless and with great freedom.
CHAPTER FOURTEEN
Tony takes Ruth to the studio of Ezio Pinza. The famous basso is having difficulty in completing his costume for Don Giovanni. Surrounded by ladies, he entertains them by singing a portion of the lament "Il Lacerto Spirito. " Quickly changing the mood, he sings the rollicking song "Finch'Han Dal Vino, " Act I Scene IV of Mozart's Don Giovanni.
CHAPTER FIFTEEN and SIXTEEN
With Pinza's rich vibrant voice still ringing in our ears, the story takes us to the night club where Ruth is singing. We hear Vaughn Monroe sing "Beware My Heart" in the crooning baritone in vogue for such music today. The contrast between this currently popular style and traditional serious singing is unmistakable. The Committee feels that the best approach would be to prepare our students for this picture by filling their minds with the glorious music already quoted and the Tchaikovsky that is coming, and then let them draw their own conclusions.
Mr. William Hartshorn pointed out that young adolescents, to whom this popular music is so appealing, can also understand that a melody like the theme from the Schumann Quintette represents a much higher and finer emotion. He also remarked that while he had frequently discussed popular music in his classes, he had never found it necessary to play it.
The details of the end of the story we will leave for its viewing. Some teachers may find it beneficial to discuss the various turns the story might take at this point, where the hero has the chance to choose between a career in classical or popular music.
CHAPTER SEVENTEEN
We return to Carnegie Hall to hear a glorious performance of a major portion of the First Movement of Tchaikovsky's Violin Concerto in D Major, performed by Jascha Heifetz, with Fritz Reiner conductiong.
A scene in the dressing room prior to the performance finds Heifetz restless. "It's the same old story, " says Reiner to Donovan, "Did you ever hear of stage fright? " "A concert in Carnegie Hall is the ambition of every young wiolinist all over the world, " comments Heifetz.
He was sixteen years old, a refugee of the Russian revolution when he first walked across the stage at Carnegie Hall for his American debut October 27, 1917. Since then, he has been constantly improving his art.
We have no musician today of higher artistic integrity. His technical virtuosity, his deep musicianship and his native genius are all apparent in this performance. The memory of his true tones sing in your mind. Heifetz, the greatest living technician of the violin, also performs with incomparable insight, with beautiful style and above all conveys the message of the composer directly to the listener.
The correct relationship between a soloist and a conductor is finally portrayed, contrasting sharply with that of Tony Sr. in the early part of the film. Heifetz's attitude is one of deep concentration and cooperation from which he relaxes only at the end of the movement.
CHAPTER EIGHTEEN
The last conductor, Leopold Stokowski, is no stranger to moviegoers. Appering in films as early as 1936, he was one of the first to bring through this medium good music to millions of people who otherwise would never have had such an opportunity.
Here Stokowski is, as usual, a combination of showman and artist. The camera dramatizes his hair and focuses particularly on the expressiveness of his hands. Carnegie Hall offers a fascinatiog study of hands: the dramatic demanding hands of Rodzinski, the sureness and agility of Piatigorsky's left hand, the strong muscular hands of Rubinstein, the facile flexible fingers of Heifetz and the weaving emotional hands of Stokowski. Students will be interested in observing his conduction of the final measures of the Second Movement of Tchaikovsky's Fifth Symphony. There is no definite beat of release; instead a contour of curves which gradually fade the music beyond our hearing.
In this film, Stokowski starts the Movement at the Tempo precedente, measure 100 of the score, and proceeds to the end.
CHAPTER NINETEEN
There is a surprise for Nora and her daughter-in-law at the Stokowski concert. Following his policy of presenting young American composers to the public, the conductor steps before the curtain and announces that Tony Salerno, Jr. will appear as conductor and pianist in his own composition, "57th Street Rhapsody, " featuring Harry James as soloist.
This sequence offers students the chance to compare Tony's attack with that of Walter's, Rodzinski's, Reiner's and Stokowski's; of his pianistic stage presence with that of Rubinstein; Harry James's virtuosity with that of Heifetz and W. and M. Portnoff's music with the other composers' heard in the film.
The best of our jazz artists have appeared in Carnegie Hall during recent yesrs, placing works from Gershwin's Rhapsody in Blue, composed for Paul Whiteman, to Stravinsky's recent Ebony Concerto for Woody Herman, before our audiences for consideration, and winning for them a place in our contemporary music. Since a piece of greater musical worth could not have been used, teachers may want to refer to such writings of other composers who have used the jazz idiom more effectively.
We leave with a bit of Beethoven ringing in our ears. A portion of Lenore No. 3 Overture is played during a re-showing of the credits. The orchestra begins at the Restatement of the first theme, measure 378, satisfying to those who love and appreciate truly good music.
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