By James M. Doering
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Additional resources for The Great Orchestrator: Arthur Judson and American Arts Management
The stakes were not very high; Freund requested the column for Musical America’s Fall Issue, a thick annual volume designed to promote the musical events of the coming concert season. Judson’s article—a commentary on the influence of the brass band—was buried on page 75 of the 130-page volume. The following year, Freund made the same request and Judson’s contribution had a similar placement. But this second column, “Business and the Modern Musician,” must have struck a chord with Freund, for Judson’s visibility in the pages of the magazine increased markedly thereafter.
Judson did not respond to Charlton directly but instead wrote to Bauer. He apologized for any offense he had caused and tried to clarify his position. 24 Bauer answered Judson’s letter personally and assured him that the criticisms were not taken personally, though he found Judson’s harsh critique of the concerto reckless. Bauer hoped it would not discourage an “earnest music student” from studying the work. He also dismissed Judson’s claim that the audience applauded merely in appreciation of the soloist’s efforts.
The city also had numerous well-respected concert organizations. For an aspiring violinist, New York City was the only logical destination. Before completing his move to New York in the summer of 1907, however, Judson stopped first in Ocean Grove to fulfill his duties as concertmaster. His work for the bustling concert venue seemed a good transition to the artistic community he would soon encounter in New York City. But actually the opposite was true. When he finally settled in the city in fall 1907, Judson struggled to find work and soon realized that surviving in New York would be a great challenge.