Evening star. [volume] (Washington, D.C.) 1854-1972, 1904-02-13
The Washington Symphony Orchestra

The Washington Symphony Orchestra.
Next to the human voice, the violin holds
the greatest place in the realm of tone. In
the hands of a master artist, like Jacques
Thibaud, the French violinist it is given
an almost human interest.
M. Thibaud made his debut before a
Washington audience yesterday afternoon
at the third concert of the Washington
Symphony Orchestra in the Lafayette OPP
era House. 1t was not only a large audi
ence. but it's enthusiasm, sympathy and
thoroughly cosmopolitan character amply
supported the efforts of the distinguished
artist and contributed much to the tri-
umph of the orchestra and its able con-
ductor. Reginald DeKoven.
NJ. Thibaud has tall, graceful figure.
Black eyes, full of expression, look out
from a face that shows decided musical
temperament. His heavy suit of coal-black
hair is worn fairly long. but in good taste.
His figure is not much unlike that of Pade-
rewski-more shapely and better proper
toned, if anything. His mien and postures
are restful and his first Impressions with
his audience are happy and reassuring.
Interest centered in the stellar attrac-
ton. M Thibaud, and he fully merited the
enthusiastic plandits that greeted his rem
dition OF every. number. From the first
movement of Max Bruch's concerto In G
minor he clearly demonstrated that he is
master in technique as well as in tone
and true color. Bruch's concerto comprises
three movements, affording ample opportu-
nifty for orchestral effects, besides brfllian-
cy and technique in the solos. Thibaud S
bowling was strong and graceful, and the
ease with which he attacked the technical
difficulties showed his strong musicianly
temperament
The second number played was composed
OF an aria from B2ch and the famous W1enl-
awski Airs Russo both with orchestral
accompaniment Probably it was in both Of
these movements that Thibaud demon
strated his great musiciansifip. The audi
ence sat as If spellbotnd. Never did the
orchestra play better Thibadd's superb in
strument seemed to talk. Over and above
the orchestra its yelvsty, tones stood out
Der he showed his skill in lingering. Here
he produced harmonies so true, so sweet
and clear, that the auditor lost sight of
the difhcult effort to produce them.
. After repeated recalls Thibaud responded
with an encore number, which was another
of Bach's compositions gavotte move
ment from one of his sonatas. 1t was rem
dered in an equally mastery manner and
was charming finale to a most suspicious
debut.
The work of the orchestra deserves more
than passing notice. Many of the num-
bers were rendered insa manner befithng
older ana more pretenkiouS organizations.
The program was selected with good taste,
and the numbers were rendered very de-
aghtfuily. The opening number was the
second act OF Humperdinck's fairy opera,
''Konigskinder," and it was given with con-
spicuous delicacy and expression. The next
number was Franz Schuberts unfinished
symphony in B minor. which movements
are unrivaled Tor beauty in their class.
Here the orchestra probably surprised It's
strongest admirers and demonstrated its
great possibilities under Mr.. DeKoven's
training. It was revelation. and the
great enthusiasm of the audience only fairly
indicated what had been accomplished. The
closing number was the gypsy suite by Ed
ward German, comprising four short move
ments. which brought out fully the versa
tility and strength OF the orchestra. 1t is
cert there is worthy Improvement in a NUM-
Der of features and the work is very well
balanced.