Evening public ledger. [volume] (Philadelphia [Pa.]) 1914-1942, 1917-01-06
SOME MODERN MUSIC
Concerto of Vogrich Played by Elman
and Orchestra

Unlike the poet of heaven and hell Mr..
Stoliowsli has the power to sing. His
program yesterday ranged from the celestial
setting of Scriahlne'S "Poeme DiVin' to the
note of Abandon hope, all ye who enter
here" sounded in the first movement ot
Max Vogrich's work. for violin and Orchcs-
ira. This concerto is really interesting,
whatever YOU who dislike the average affair
of the sort may think. The inspiration OF
the work is indicated in the quotation from
Galileo's rccantation at the head of the
text 1T moves. for all that" the reference
being to his former denial Of the worlds
motion. The concerto is divided into four
parts. the first painting the internal gloom
of the nctherworlds. the second deathlcss
love and the other two sort of GlOrifcatlon
of THE eternal Providence " which, presum-
ably, like the Eternal Woman, leads man
kind on,
The elaborate program notes Of Mr.. Goepp
will not be needed by those who attend the
concert tonight, unless they want to grasp
the technical side of the concerto. Its
merits and demerits can be easily felt by
any one to whom music of this sort appeals
What gives the work its stamp of beauty ~
the grandeur, pity and terror OF the trSt
two movements. With no snowy streSsing
of the solo Instruments part. it proceeds
with moving eloquence to a finale that loses
the majestic infection Only reSoundlhE
climax prevents NOgrich from taperIng oil
into banality. But the first movement is II
little triumph. No theatricality, no misuse
of brass, no attempt to rewrite Wagner
The impressiveness Of quiet SIMS mel
ody; the atmosphere deftly conveyed OF
the land beyond the tomb. The lento Is
pure song, calm. but not eXutlng; without
desire, yet seraphic, Here the musician has
turned the love that caught strange llght
from Deaths own eyes" into its perfect
musical equivalent Simply and unaffectedly
he touches the pulse with this elusive thing
1t is above all else, in the vein OF Dante, Tor
Dantes inferno" and paradise" provide
the quotations for the concerto's SupdlN-
sions. The Hungarian composer could not
quite keep his pace, could not precisely
name the unnamable in his conclusion, Be
fore that he had let us look through the
door of death and see love still living as
the poet saw it. No petty accomplishment
that
AIscha Elman played the concerto, lie
did not play il in his usual fashion. for
he did not breathe into it the breathy sign
Of matinee sentimentality, but put all his
considerable emotion and his agile hands
to the task of interpreting Nogrch-no'
eNalting Elman. The result was genuine m
depreciation, in which the moods OF the
composer came through the crucible OF the
artist as they should come. The orchestra
shared in this excellence of production
because it had large part in the score
While the voice of the violin often became
one with the other players, 1t was forced
to 90 deep and rise high, alone, according
to the demands of the writer. Elman met
the test well
The usual changes marked the concert.
Strayinsky's Fireworks" was deferred III
later in the season. as was the "Rustlc
Wedding" In their places stood the Scrla-
bine "Poeme," given last year by the Or
chestra Coming on top of the concerto
yesterday, 1t proved too much in the same
key, spiritually TO be paired with Nogrlch's
work The wine glass had been brimmed
to overhowing; the trencher held too mueh
meat
Some atonement for this heaping up OF
the modern and mysterious was made in the
playing OF BTahms's comely and cheerful
and colorful variations on a theme OF
Haydn. perhaps the best example eNtant
of this sort of writing except those OF
Cesar Franck The afternoon ended with
Saint-Saenss brilliant rondO. executed by
Mr.. Elman, whose two appearances caused
excitement and rapture. B. D.