Evening public ledger. [volume] (Philadelphia [Pa.]) 1914-1942, 1917-11-03
AN IDEAL CONCERT
Schubert's Unfinished Symphony
Is Admirably Played and Nine.
Matzenauer Sings

So long as Leopold stokowski pays the
sort of tribute to supreme art bestowed
In yesterday afternoons concert of the
Philadelphia Orchestra in the Academy of
Music, all fears that the presence of distin-
guished soloists may unbalance the appeal
of symphony programs may be comfortably
dismissed
Margarete Matzenauer, one of the worlds
comparatively few great contraltos, was the
soloist. Her luscious lyrlcism is precisely
of the type that has before now upset the
symmetry Of musical rosters, Occasions
upon which Nine. Schumann-Heink con-
verted symphony concerts into song recitals
are sorrowfully recalled. But Nine. Mat
zenauer's contributions yesterday dovetailed
perfectly into the artistic homogeneity of
the program.
For this proprlety her choice of song
numbers was partly responsible, but even
more potent was the splendor Of romance
and the pulse-stirrng poetic Imagination
which Mr.. Stokowski infused into his read
ing of Schubert's Unfinished Symphony"
The orchestra was in virtuoso form, and
played with absolute assurance and author
lty. Mr.. Stokowsli's eager search for nov
elites bespeaks initiative and catholicty of
taste, but there are times when the majesty
of acknowledged masterpieces eloquently
rendered, is more satisfying than the most
brilliant and highly-seasoned contemporary
score. Such an occasion was yesterday
AFTERNOON,
Schubert'S incompleted work refused TO per-
nit Nine. Matzenauer to dominate the pro-
gram. She shared in its honors as a stellar
guest should do. The presence of soloists
at symphony concerts is only justified when
the element Of proportion is thus ittingly
preserved.
The rich-voiced contralto's offerings
we're all well-tested concert favorites. EX-
pert command Of coloratura technique was
revealed in her treatment of the broad
flowing melody in the "Parto" aria from
Mozarts Titus" Exquisite delcacy and
a subtle regard for poetic values charac-
terized her singing of the three Wagner
lieder, I'm the Greenhouse" Dreams" and
Trouble" (Schmerzenl which contain much
embryonic thematic material afterward
used in Tristan" and are all associated
with the Nine. Wesendonck chapters in the
temperamental Richards sentimental
career.
The program opened with the Star
Spangled Banner" followed by Cherubinis
"Abencerrages" overture, conventional
old work, but family pcturing the grim
Moorish tragedy once enacted in the ILL
fated Boabdils exotic Alhambra. In vivid
contrast was the concluding number a
suite from Strawinsky's ultra-modern score
written for the pantomime ballet, THE Fire
Bird" Detached from the scenic action
the full effect OF this interesting music is
occasionally lost. The orchestra, however,
illuminated its eerie dscords and rippllng
passages of elfin delicacy with the mastery
facility typical of the entire concert. Hold
ers of nonseason tickets were compelled to
pay the 10 per cent amusement duties
before entering the Academy but this
ruling was not applied to regular subscrib.
ers 1t was stated that the orchestra is
considering a plan to collect the taxes from
it's subscribers in lump payments for the
entire season. This method will obviate
annoying delays at the concert doors