The Washington herald., 1912-11-27
STRANSKY GREETED
BY Big AUDIENCE
Philharmonic Orchestra Presents
Programme Including Works
by Beethoven and Brahms.

The new conductor OF the PhiIhar-
monic Orchestra of New York, Josef
Stransky, was enthusiastically welcomed
by a discriminating audience yesterday
afternoon at the New National Theater,
in the first OF a series. Of three season
concerts, The boxes were occupied by
diplomatic and officisl Washington Mrs
Taft. as usual. entertaining a party Of
house guests.
Mr.. Stransky promises to be a worthy
successor of Mr.. Mahler. He is dramatic
to the finger tips, and the reading of
LisEt's Les Preludes.'' a symphonic
poem Of cumulative emotional intensity,
lent occasion for the full expression of
II the conductors dramatic temperament.
The shading and contrappuntal work In
the symphony were exceptionally fine;
and in the Brahms concerto, the orches-
H ira afforded a perfect balance for the
Il violin. that work being justly divided
In importance between orchestra and vio-
| lin.
| Beethoven symphony always makes
red-letter day for concert-goers; but
when to a Beethoven symphony is added
one Of the greatest Of all violin con-
certos, the Brahms D major, the pro-
gramme is one to be remembered.
When Brahms died fifteen years ago,
| sage critic said that Brahms work was
| still too near us for any certain or
dogmatic estimate of its value Heresy
| toward Brahms is still permissible. II
will take another decade or more to
establish his greatness. The very
breadth and universality Of his genius
is the stumbling block TO the occasional
listener. His packed phrases and his
great simplicity combined are confusion
and bewilderment. To those who cannot
count the pebbles below. the stream
seems muddy. In structural mastery he
is the equal OF Bach and Beethoven, and
for pure melodic beauty no one but
Schubert can equal him.
Inspired by FrIendshIP
The D major concerto, Opus Il. "a
work which will last as music ITSELF" |
was inspired by Brahms friendship for |
the great Joachim. Because of its char |
acter of equal Importance for both the |
solo violin and the supporting orchestra, |
1t has been variously styled as a con |
certo against the VIOLIN" as a sym
phony with a violin solo running through |
it." and as the perfect combination of
the two principals of the solo and con-
certed music" In the first movement the
themes are announced and discussed chief
y by the orchestra. The violin plays
around these themes, soaring into difficult
flights of technique. The second move
ment Is a slow serene melody OF exquisite II
lcveliness. The third movement Is spir- II
tied, full of vigor. and strong contrasts. II
Mischa Elman's virtuosity is too well
established TO be a matter for discussion.
The golden tone which he produces, the
ETHEREAL deIicacy OF his pianissimos, his
marvellous double stopping, all these are
accepted as of course, and have passed
into Elman proverbs. He comes back to
the United States on his fourth tour,
after a years absence, matured into one
Of the greatest Of all living interpreters
OF the violin.
The Seventh symphony OF Beethoven
is characterized throughout by haunting
rhythmic figures. Light tripping motifs,
breaking in upon even the solemn pathos
Of the allegretto. gives hints of the
dance that follows in the scherZo. The
scherzo, full Of vivacious exuberance OF
youth. is the very essence of the dance;
and from this movement onward to the
end the music Is a resistless abandon
nent TO rhythmic swing, the spirit OF
simple frolic pervading everything.
The Weingartner overture. played as
the opening number, is a joyous SYM
phonic poem, with two lovely lyric
strains, the first announced by the
ceIlos and taken up by the violas, and
hen the violins: the second given out
oy the violIns. The working out is some
what obscure, but pleasing harmonies
prevail.