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conductors all over the country. As the film follows each baton to its destination, several outstanding conductors are seen and heard.
First stop— Wichita, Kansas, where music has been cultivated to such a degree that it has become part and parcel of school life. There James Robert.son tries out his new baton on one of the three youth symphonies as they rehearse Carmen Suite by Bizet. Later that evening these same young people listen to the Wichita Symphony Orchestra playing Elgar's Enigma Variations No. 14 at the concert hall.
But like a baton in action, the life of the U. S. symphony orchestra is not always confined to concert halls. The Atlanta Symphony Orchestra, for example, is always on the move. On this particular day, it has traveled 100 miles to Warm Springs, Georgia, where persons stricken with infantile paralysis draw inspiration, confidence and happiness from the orchestra's inspired rendition of Dance Overture by Creston.
North of Atlanta in the quiet, unhurried city of Knoxville, David Van V'actor conducts a rehearsal of his own composition, Symphony No. 2, while Joseph Hawthorne of the Toledo S\mphon\ listens critically. Out in the Colorado foothills of the Rocky Mountains, the Denver Symphony Orchestra plays magnificently, Moussorgsky's Night on Bald Mountain, surrounded by nature to match what is sublime in music. Night settles on the Rockies as the last note fades away.
Finally, Guy Fraser Harri.son conducts the Oklahoma City Symphony Orchestra in its rendition of Symphony 512 by Gillis, and the concert scene fades to several pictures depicting the moods of the music— a lonely cowboy riding toward the horizon, a church steeple silhouetted against the sky, a cowboy rounding up horses, and a boy driving his cattle home. The orchestra plays on as the scene changes to show how various listeners from far and near, in every city and town, all share in this universal heritage— priceless music.
Appraisal
Symphony Acro.^.i the Land is one of the most outstanding music films on symphonic music that the evaluation committee has ever seen. Its effectiveness lies in its excellent quality of the sound reproduction and the artistic use of photography in visualization of the moods and emotions generated by the music.
This film is a wonderful source of information on the place of symphony
orchestras in America rather than mere entertainment. The tenor seems to be that of genuineness rather than artifically created situations.
Although two of the evaluators think the film a bit too long, they do feel it is highly motivational. It could be used to stimulate adult participation in and support of school music education, and it could demonstrate to local Chambers of Commerce and various sei-vice clubs the need for such support in the community. High school and college students would not only find the film very interesting but also would see in it possibilities for adult musical activities.
—Nita Barcelona
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Educational Screkn and Audiovisual Guide — July, 1961
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