Discussions amongst members of this group concerning interpretations
of various works frequently verge on the controversial, to say the least.
Following many exchanges one wonders whether any person has the least idea
about which is a "correct" interpretation.  Over the years there have been
many personal accounts by musicians, conductors and other observers which
add to the mystery of what is a "correct" interpretation of this or that
work.  Such a first hand account was today given by Harry Ellis Dixon,
conductor emeritus of the Boston Pops Orchestra who spent most of his
musical career in the first violin section of both the BSO and Pops
Orchestras.  On todays broadcast (4/11/99) of the radio program "A Note
To You," syndicated by WGBH radio, Dixon told a story surrounding the
interpretation of Bela Bartok's "Concerto For Orchestra" which was
commissioned and first performed by the BSO conducted by Serge Koussevitsky
in the decade of the '40s.  Dixon reported that on the day of rehearsal in
1944 a very frail Mr. Bartok (at this time only months from death) showed
up at symphony Hall and seated himself in the first balcony with score in
hand.  The orchestra began to play and Bartok immediately shouted to the
conductor, "It is too fast Mr. Koussevitsky." Soon after the orchestra
resumed play, again Bartok shouted "It is much too loud..." At this point
the conductor turned and said "Mr. Bartok, please take pencil and paper
and keep detailed notes of your comments and we shall discuss them in
detail at a later time." Following the ensuing uninterrupted rehearsal,
Koussevitsky and Bartok retired for the promised discussion.  Dixon related
the following.  "A short time later Koussevitsky reappeared in front of the
waiting orchestra and said, ...We have had a discussion about the
performance and Mr. Bartok says it is just fine..."

Bernard Gregoire Hingham, MA