Evening public ledger. [volume] (Philadelphia [Pa.]) 1914-1942, 1917-04-14
A D'INDY SYMPHONY
Splendid Work by French Composer
With Baaer at the Piano

Harold Bauer is an artist who buys his
worth at the cost of personal reclame.
He gains prominence by submergence The
less apparent his piano playing with an
orchestra the more easily perceived is his
noble dffidence. His dim and cloistered
talent Is the more visible when 1t is but
shghtly illuminated by the calcium
In both the numbers which Mr.. Bauer
elected to play with the PHILADELPHIA
Orchestra yesterday afternoon this fact be-
came apparent. These were the Bach con-
certo In ID minor and Vincent d'Indy's
unusual symphony for orchestra and piano.
Perhaps this latter work has been heard
here before but not often and certainly
not recently. program-bu looking for
symphonic music blending solid merit and
picturesque attractiveness ought to be sat
isned with the French mountain song"
For here Cesar Franck's fellow-craftsman n
speaks with individual utterance and mas
terry or form and content. Here is no tire
somely realistic program music, hut the
genuine sensing of what is too deep to be
spoken. and therefore must be comnosed
mere are no Initiative noises, no grlnting
ANIMALS, no Photographic effects. II is not
IN the least like the Alpine symphony Of
STRAUSS Rather may it be considered a
painting of the soul of Gallo hills, or per-
maps the soul of a shepherd
In the combination OF gorgeous and e,ao
,rlc orchestrai effects that are free of affec-
tation and ugly noise for it's own sake M
ihoy is probably supreme. He can draw
OH all the resources of the modern choi..
without being precious" His genius for
contrasts OF orchestral coloring is fine ana
| certain Nothing is sacrificed 10 disn,a,
aione' ana yet all he writes is instinct
WIN IRE ana sort of vigorous noetry
ana ehchantingly melodious In the wor,
tha ,,uer ,,Gonslderation he has spared neither
i'i'ies nor the ego of the solo per-
iormer, The number of technical e1ao..
demanded of the pianist is we'll I'm in ~
uozeh' Yet with a diabolical knowIadno
Vi the personal artistic self-consciousnasese
ne mas supJugated the piano part 10 tLn
man orchestral score. Glissades. arnss.in.
an anu ieats OF lingering and dynamios are
nhoni s as commentaries on the sym-
phohic song Of all the instruments sym
GO inal rs why Mr.. Bauer performed than,
oo ehectNeiy yesterday. In the tran.,
yet emotional beauty of the first ,,o,'qh nquh
tne caimer mood Of the second or the t'r
puIeht sensuousness OF the third he ~. NJ
eaine member of the Philadelnhia,
chestra' Nicer understanding. of y Ut
here. oeeh shown
NO one who cares a fig for French n,,.,.
Su,shas Any kind, or for delicate and ds,,n'
suished pianistic work or for ~ ustih-
phohic form, can afford to be ah.an, sym
'oHushts repetition Of the concert. 'fo"
certo was psusrs srsrors reading Of the Bach con.
ooae., was scarcely less admirable thosn.
occasionally he seemed Somewhat 'nough
as 10 his pedal-retention, prolons,na - aount
soo. souma rather heavily. The melancSo,ss. .he
moving adagio was magnificentiv ana
M IN .he last allegro the artist gave b,s piaysd'
LIQUID sors Notes lesson in the production Of
scending runs that are vet d,ss,r OF de-
clear-cut uistinct and
Mr.. stokowski's additional on.,,n.
e ai'ernoon were suite from 80, OF
operas arranged and played VIII tnllS
sr. gracs ana charrp, and Berlios's bustiirsn much
ccSductss SS Smsn sSns Csrnival" overture jas Ha
s9e 2'c2'ly1s 4 Pa1nn9l ~ ~ W. W ass 8.