Evening public ledger. [volume] (Philadelphia [Pa.]) 1914-1942, 1918-01-26
BLOCH READS OWN WORKS
Gifted Swiss Composer Directs the
Philadelphia Orchestra in an
Unusual Concert

Vital musical gifts We're marred by proN-
ity in unique concert given by the Phla-
delphia Orchestra under the baton Of Ernest
Bloch in the Academy of Music yesterday
afternoon Mr.. Bloch Is the posSesSor Of
vkry distinctive talent, which he has authOr-
tatively employed in specialized musical
field A Genevan Jew with French, Belgian
and German musical education, this COM
poser is a master of modern Instrumentation
and a follower Of high artistic ideals. which
have inspired him to interpret through his
intensely modern scores the significant quail
ties of the Hebraic soul,
The self-imposed mission is laudable. It's
execution, however betrays weakness for
repetition and musical tautolOgy which par
ticularly modified pleasure in yesterdays
long program, exclusively devoted to Bloch
compositions. Moreover, although Mr.. StO-
kowsli's surrender of his baton to the Swiss
visitor was gracious act. the temporary
conductor exhibited but mediocre attr'hn''S
Of leadership. which evoked longing for the
admirable direction to which our audiences
have become accustomed. When Carl Pohlig
in an earlier day gave way to Richard
strauss at two memorable Philadelphia or
chestra concerts no artistic deterioration was
apparent But il would unquestonably have
been better for Mr.. Bloch had Leopold Sto-
llowsH read the scores.
The four features on the program COM
prsed trilogy of Jewish Poems" lie
braic rhapsody entitled "SchelomO" (Solo-
Chestra and an unfinished symphony. rs
rael," involving, in addition to the instru-
mentaton the services of a female quartet
and a baritone. The moods Of all these
works are almost identical. They are in
stinct with feeling for noble tragedy; they
reflect the combined passion and dignity of
the Semitic temperament they evoke the
orient In both its langqor and It's majesty.
But, most Of ALL they dre persistently mel
ancholy and two hours Of emphasis on this
chord, as was the cast yesterday, is inevi-
tably monotonous, Mr.. Bloch repeats the
same themes with wearsome iteration. Brew
ity is often the soul Of musical artistry as
we'll as wit. IL would seem that Mr. BlOchS
scores could be edited with profit TO himself
and his public. He achieves greatness in
many passages. It is pity to have their
appeal thus sacrificed.
The influence Of the contemporary Frencn
composers. OF Debussy, Of D'Indy, Dukas and
Rabaud is constantly evident In the Swisr
composers polyphony. Reinforcing this
manner, however, are significant inspirat ational
traits which bespeak definite originality and
an unyielding adherence to his message"
Behind a lavish fertility of instrumental in
vention are the somber JudaiBtc roots.
These are most graphically and impressivelY
revealed in the Solomon" rhapsody a sim
cere and eloquent depletion In music of the
paradOXical soul states OF lsraePs most pow
erful monarch. Condensation would have
bettered this work. too. but It has passages
OF rare and moving beauty, notably those
written for the. cello, which Hans Kinder
Yesterday played with compelling art
OF the three Jewish POEMS" Dance"
"Rite" and Funeral Cortege." the first, with
it's opulent eastern coloring, is perhaps the
most interesting. The settings for the 137th
and l14th Psalms suffered from the rather
weak vocalization of Povla Frijsh, who was
the soloist, using French text In the SYM
phony, which. despAte some striking achieve
ments OF tone and musical painting, maun-
ders with especial diffuseness, the choir of
women was composed OF Mary Garrett, So
prano; Kathryn Meisle, contraltoi Nine.
Friish and Alice Fldler contralto. Henry
Hotz sang the ''Adonai Elohlm' of the second
movement ~ T. q