The Washington herald., 1913-12-17
HOFFMAN, AT BEST in
SCHUMANN CONCERTO
Philadelphia Orchestra Gives First of
Three Concerts at New National
Theater.
sTokoWSKI A GREAT DELIGHT

The Philadelphia Orchestra, Leopold
Stokowski, conductor gave the first OF
a series of three concerts yesterday aft
ernoon at the fTew National Theater.
Josef Holman played Schumann's A
Minor Concerto; the orchestra numbers
were Brahms First Symphonic Minor
and the Vorspiel and Liebestod from
Tristan and Isolde" of Wagner.
Those who say that Brahms is grabbed.
uDmelodious and abstract have not
heard this symphony in c minor. These
may have been Of the audience, but
they could not have heard. There is
nothing more divinely nfelodious in mu-
sical literature than the long sustained
themes of the andante; nothing more
beautiful than the horn theme, repeated
by the flute. and woc-wind in the last
movement. Whoever knows his Bee
thoven must recognize a kinship between
him and Brahms in the allegretto move
ment, and sturdy and stimulating con-
trapuntal work Of the finale. The first
movement might be termed grabbed; II
certainly has not the suave elegance,
the complaisant phrase of Mendelssohn,
for example.
The progress from the first measure to
the final double bar of the movement is
through one succession of bold unexpect-
ed changes of harmony. Involuntarily
there comes to the mind the line OF
Browning: "A light will struggle through
these words at last" Throughout the
entire composition the hearer marvels
at the rich abundance of ideas; an almost
tumultuous surge of ideas. If ever a
brain teemed with musical thought that,
surely, was Brahms; but the man dis
dained to make his thoughts flow in easy,
smooth, facile phrases. What a feeling
of sincerity this work brings with 1t.
There is no pompous, or overworked-for-
novelty s-sake phrase in the entire COM
position. And how much thought and
sympathetic understanding Mr.. Stokowski
has devoted TO this study of this work.
His reading was a scholarly illumination
His phrasing is the perfection OF SEN
tence making; the themes stand out in
bold outline, and the timbres of the dif-
ferent instruments are combined and
recombined with perfection of skill in
coloring; always subordinating the de-
tails to the progression Of ideas, with a
cOmprehending view of the work as
whole. That comprehension inspires
feeling in the listener for the charm OF
the close texture, the architectural
strength of this work. In the Tristan
and Isolde Mr.. Stokowski, while fully
alive to the dramatic intent. lifts the
piece into the realm of spiritual lyric
beauty.
Time and the discriminating public
have long since given their verdict for
Hofmann. And fiattering verdict it is.
He is one of the concert hall favOrites.
Yesterday his work in tine concerto of
Schumann was altogether fine. His clear,
vigorous, manly style; the perfection of
his technique, his intellectual yeracity-if
the expression may be allowed-especially
fit him for big concerted work. In the
ha
making the melody soar divinely.
Mr.. StokOwsh is English born, of a
Polish father and an Irish mother. He
studied violin in the Royal College of
London, and composition under Parry. 1t
was through Parry that he got Shis first
opportunity at conducting-in Paris-aS
substitute for Nickisch. On that occasion
certain musicians from Cincinnati heard
StOkOwski, and negotiations were at once
set afoot which resulted in his first per-
manent engagement as conductor of the
Cincinnati orchestra