Evening public ledger. [volume] (Philadelphia [Pa.]) 1914-1942, 1918-12-21
CORTOT TRIUMPHS
WITH THE ORCHESTRA
French Pianist Proves Himself to
Be Consummate Artist-Orches-
ira in Beethoven Symphony

The Philadelphia Orchestra gave an all
Beethoven program at it's concert yesterday
afternoon at the Academy of Music. The
concert began with the Egmont overture,
with its somber opening. its passionate mid
die section and triumphant close. The IA
miliar number was sympathetically read by
Mr.. Stokowski and we'll played by the Or
Chestra,
The soloist of the afternoon was Alfred
Cortot, who made his first appearance here
early in the season with the Paris Conser-
vatoire Orchestra, in the Saint-Saens con-
certo No. 4. For yesterdays concert he chose
n work as radically different in every way as
can be imagined, the C major concerto of
Beethoyen, the first of the five piano con-
certos of the Bonn master.
To say that Mr.. Gortot strengthened the
; impression gained &C his first hearing, that
he is one of the greatest living masters of
the piano, is to put it mildly. He was heard
yesterday under far more favorable circum-
stances, the chief OF which are that the
Academy is better adapted to orchestral con-
certs than the Metropolitan. and that the
Orchestra is thoroughly familiar with the
hall, a matter OF no small consequence when
the relation of the orchestral accompaniment
to the solo part is considered.
Mr.. Cortot revealed as one of his chief
pianistic characteristics an unrivaled clarity
of tone, together with n crispness of staccato
and a tonal purity and beauty which few
concert performers can boast. He has an
amazing perfection of technique, but 1t is
never brought to the front for its own sake
and Is only shown by the ease and precision
with which difficult passages are executed.
This was especially noticeable in his octaves
and thirds and in the exceedingly difficult
downward passage near the beginning of
the first movement, which starts very loud
and ends very softly. This was executed with
an absolutely even dlminution of tone with
out the slightest loss of speed. Mr.. Cortot
seems never to forget that the piano Is,
after all, an instrument of percussion : and
incapable Of sustained tone, and this style of
playing gives a most refreshing vigor and
freshness to his work.
The concerto Is not one which gives any
very great scope for individual interpreta-
ton. 1t is one of the least profound of
Beethoven's larger works and, except in the
Largo, which was beautifully played, does
not contain the elements necessary for a
strongly individual reading, 1t Is a work
Of formal beauty rather than Of intense
feeling. Then, too, 1t was composed at an
early age, and for an instrument obviously
mechanically far below the powers of n
modern grand piano. AS a result the full
resources of the present-day instrument are
not employed. 1t was very enjoyable, but II
left the wish that one might hear Mr.. Cor
tots extraordinary abilities as a pianist in
one of the really great podern concertos or
in the Emperor" of Beethoven.
Mr.. Stokowski's symphonic offering was
Beethoven's Seventh, a work now fairly IA
miliar to Philadelphia's concert-goers, as
yesterday was the third time it has been
played here this year. Mr.. Stokowski's read
ing was poetic and exceedingly rhythmic as.
the work requires. Especially fine was the
beautiful Allegretto, where the tone-color of
the orchestra was charming and the counter
melodies, so often overemphasized by con-
ductors, were held in their proper relation
to the main theme. The scherZo, too, was
admirably played, being full of spirit and
with good tone quality, without being forced
either in tempo or In volume.