Evening public ledger. [volume] (Philadelphia [Pa.]) 1914-1942, 1919-02-06
RACHMANINOFF FEATURE
OF BOSTON CONCERT
Russian Pianist Scores Triumph
in His Own Concerto for
Piano and Orchestra

Sergei Rachmaninoff, the Russian composer
and pianist. was the feature Of the concert
of the Boston Symphony Orchestra last eve
ming at the Academy Of Music He played
his own concerto in minor for piano and
orchestra. and showed himself to be equally
great as creator and as Interpreter
The composition is not a new one to Phil
adelphia. having been played here by the
composer some ten years ago and by other
pianists since. but It is doubtful II SO i'm
presslve a performance of the work has ever
been heard in this city, even by Mr.. Rach-
maninoff himself at his previous appearance.
It's general tone is melanchoic, despite the
"scherzando" title of the finale, as indeed
much OF his music is apt to he, and it was
played as 1t seems to have been composed,
as an integral part of the nature OF the man.
or Mr.. Rachmaninoff's pre- eminent quali-
fcations as pianist little need be said The
listener lost sight OF the manifest technical
diffculties Of the concerto in the somber but
satisfying message of it's musical content.
It's themes are noble and the development
or them both in the solo part and In the
equally important orchestral parts, are con-
slstent and dignified, as BELTS their charac
ter The orchestra has much to do. both
with the announcement and the development
OF the thematic material. and the plano is
used largely as an obigato instrument,
matter which Mr.. Rachmaninoff never for
moment lost sight of in his artistic and mas
terly Interpretation.
The accompaniment of the concerto might
have been better. The scoring of the orches-
tral parts is very heavy. the full modern
orchestra being used, even to the tuba, bass
drum and cymbals. Several times the ac-
compartment so heavy as nearly to OBJ
scure entirely the solo part. and there was
considerable "wobbling' in spots in several
of the instruments, suggesting en- insufficient
number of rehearsals for a composition In
which the relation Of solo part and orchestra
is so intimate. In spite of this. however, Mr..
Rachmannof scored a deserved triumph for
mastery work artisticaly performed.
The remainder of the program was devoted
TO purely orchestral works. II began with
an orchestral suite from Cesar Franck's SYM
phonic poem Psyche" followed (after the
concerto) by Saint-Saenss symphonic poem,
"Phaeton." and by Faure's suite from the
stage music to Haraucourt's comedy, Shy
lock-" and concluding with weber's "Eury
anthe" overture.
The Franck number consists of the orches-
trail parts of composition for chorus and
orchestra entitled Psyche" II is written
TO a program, which must be all the more
closely followed by the listener in the abb
sence Of the vocal parts. Though one Of
Franck's mature works II can hardly be
called one Of his greatest ones, although the
third movement Is full of "reminiscences. both
IN rhythm and in orchestration, of the nnale
of the great symphony in d minor. Mr.
Rabaud read the work with sympathy. and
1t was fairly well played, although in places
the orchestra did not seem to be so well in
hand as might be desired. and there was
occasional "wobbling'' Of leading parts
noticed later in the concerto.
The best playing of the evening was done
in the Salnt-Saens's "Phaeton." Here the
orchestra seemed to be under better control
and played with more unity and better bal
ance Of the parts than In any other number
The Faure suite consists of four short num-
bers, melodic and rational in composition.
However, il is simply French stage music
of the better sort, and its inclusion in a
symphony program may well be questioned
They were we'll played, as. in a general way
was the Weber overture, although in places
in the latter the sustained chords of the
brass drowned out the melodic fgurations Of
the strings and reed instruments.
While the orchestra played its program
better than it performed its last concert. it
still does not appear to be under that abso-
Lutte control of the leader which Is necessary
to perfect orchestral performance, while
there can be no doubt that the unity Of play
ing. the accuracy of attack and release Of
notes in the various choirs, which the old
Boston Orchestra had to SO high degree,
has not been regained. The lack of tonal
balance may be due to an unfamillarity with
the Academy, but IL was apparent in all the
numbers except the Saint-Saens symphonic
poem. 1t was especially noticeable in the
fortissimos, while at time during the con-
cert was the beautiful pianissmo shown in
the December concert, very soft but still
maintaining the color of the various instru-
ments, revealed.