San Francisco's Comeback

With its head held high for the first time in years the San Francisco Symphony this week ends its season. There has been talk all over the city of the reborn orchestra. Ladies have been giving symphony luncheons, going on to the concerts, rhapsodizing over the performances under chunky little Pierre Monteux. Last week it became known that the French conductor had signed a contract for three more years in San Francisco. The announcement spelled good news. Critics pointed to what Monteux had accomplished with an orchestra that had been ragged and uninspired. Financially the new contract meant that the Symphony considered itself saved.

Behind scenes congratulations went to genial one-armed Joseph S. Thompson, new president of the San Francisco Musical Association, and to plump go-getting Leonora Wood Armsby, founder of the Hillsborough summer concerts, who this winter has been the San Francisco orchestra's managing director. Last year when there was no regular season because of the lack of public support, the city voted $30,000 to give ten popular-priced concerts (TIME, May 13). But Mrs. Armsby and President Thompson (brother of Author Kathleen Morris), were determined to have an oldtime formal season besides, engaged Monteux and launched the one just ending. To cover expenses they needed a guarantee of $82,000, had only half of it when the first concert was given. The rejuvenated orchestra has taken care of the rest. Attendance has been some 40% better than in 1929. Next year the orchestra personnel will be increased, the season probably extended. The only one to complain of the good fortune has been the gruff-looking conductor with the famed walrus mustachios. Monteux hates dinner parties, has been obliged to attend more than 40.

With their symphonic pride restored, San Franciscans listened last week to the premiere of a symphony which was supposed to be inspired by San Francisco's glories. Composer and conductor of the performance was Meredith Willson, born 33 years ago in Mason City, Iowa. At 17 Composer Willson was playing the flute in Sousa's band, later joined the New York Philharmonic, now works in San Francisco as a musical director for National Broadcasting Co. In his Symphony No. 1 in F, Composer Willson was first mindful of the pioneers who settled the city, then of the Great Fire (i. e. earthquake) with its ruins & ashes, then of "the almost childish delight of a people who have a continental love for artistic pursuits." In his scherzo he quoted from Cara Nome, harking back to the Christmas Eve in 1910 when Luisa Tetrazzini sang it on the square by Lotta's Fountain. In the finale he loudly attempted to glorify modern engineering, the skyscrapers and the great new bridge over San Francisco Bay.

The scoring throughout was vigorous, obvious, abounding in theatrical crescendos which brought him tremendous applause. Willson's program notes made a sure-fire appeal to civic pride. The conclusion was described as "a call of defiance to the elements that had the temerity to dispute the spiritual strength and courage of the Golden City of the West."

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