Evening public ledger. [volume] (Philadelphia [Pa.]) 1914-1942, 1918-11-06
FRENCH ORCHESTRA
SCORES BIG SUCCESS
Splendid Body of Musicians
Gives First Concert Here.
Cortot the SOloist

The orchestra of the Paris Conservatoire
gave it's long postponed concert at the Metro
politan Opera House last evening before an
audience that almost completely nlled the
huge building.
The orchestra is composed or the profess
sors of orchestral instruments at the Con-
servatore, augmented by the best of the pu-
pills. Therefore, it is a much older body or
men as a whole than we are accustomed to
see in the orchestras OF our own c lntry.
There is a natural loss of some of the mn
petuosity of youth, but a corresponding gain
in precision and steadiness
The program opened with the Overture
"Patrie" of Bizet, not particularly Interest,"
ing work. and this was followed by the
famous Fifth symphony of Beethoven. This
was given a dignifed, refined reading by NJ.
Messenger. with never a breach OF good
taste even If a little more vigor here ahc
there might have been desired. After the
symphony, Debussys prelude, An Afternoon
of Faun," was played, and in this hummer
NJ Messenger and his splendid orchestra
showed at their best. Both interpretations
and performance were thoroughly IN the
spirit of the composer, and this most Famous
and probably best of Debussys purely or
chestral works received really remarkable
performance.
The other orchestra numbers We're the
Morceau Symphondue from "The Redemp-
tion" of Cesar Franck ana the tafhliiar
"Carnaval Roman of Berlioz. The former
showed Franck in a highly different style
as the work is not in his customary mar
monic scheme nor has it any or that elaoor-
ateness of design which marked ms colhpo-
stions in absolute music Played as "A cons
cert number il does not produce the same
effect as in its proper place in the oratorIo
Both numbers were well performed there
being the real French snap and spirit IN the
Berlioz composition. The concert began
with a slow and dgnihed performance OF
",rhe Star Spangled Banner" and ended with
a most spirited rendition of the "Marsei-
laise" both of which were very cordially re-
ceived by the audience
| A comparison of the orchestra with the
| best American organizations is not easy.
| The French have a seating arrangement en-
tirely different from those in this country.
The basses are massed on the right and the
brasses on the left The vlo'as are bchlnr
the first volins instead of the seconds, as IN
our orchestras, and the cellos strung across
the stage in a row behind the ViolinS ana
yolas The arrangement of the wood-wnds
| ia approximately the same as ours. The
seating of the orchestra causes the tone 10
come to the audience in manner uh>
| familiar to American audiences.
| The first impression is that We are ac-
| customed to a greater sorority of tone than
| that given by the famous body of instru-
| mentallStS
| ST the orchestra as a whole being refined
rather than powerful, especially in the
strings The size of the immense auditorium
| NAV have had something to do with this
! impression. as 1t is too large for an orches-
| ira to be heard at its best. There is no
! doubt however as to the great beauty and
| unusual homogeneity of the wood-wind choir
| The French have always had the reputation
| OF being the best players of the reed instru-
| ments and any one who doubts this has only
| to hear this orchestra to have 1t proved
| Flutes, oboes carinets and bassoons are per.
| feet in tone. rhythm and, what is still rarer
| in playing in absolute tune. The brass alsu
| played beautifully in tune and with rare dis
| cretion as to volume of tone, which was al-
| WAYS full but never forced
| AS a conductor, NJ. Messenger Is exceedingly
| economical of motion, and gives the lmme-
| date impression Of the most intense SINGER
| ity. always subordinating himself to the
| IDEAS of the composer Refinement, grace ana
| imDeccable taste mark the readings rather
| than great vigor or enthusiasm, although he
| does not hesitate to bring out the full tona'
| power Of the band at the climaXes He AT,
| ways had the orchestra absolutely at his com
| mand both In tone and tempos.
| The soloist was Alfred Cortot, who played
| the fourth piano concerto Tin c minor) OF
| Saint Saens The work, a difficult and no,
very inspiring composition, has the one
| merit demanded of a piano concerto, in tina,
| IL shows off the fulk resources OF the sole
| instrument to good advantage against tht
| colors of the orchestra. NJ Cortot played
| with great spirit, with sense OF rhythm
| almost unequaled among contemporary plan
| lists and with the exceedingly fluent finger
technique that the work demands. His ton'
Is good, although the composition does no
| give much opportunity for the display OF Ia
singing qualities. He was accorded grea
reception and was forced to play an encore
giving the G-hat Waltz OF Chopin