Evening public ledger. [volume] (Philadelphia [Pa.]) 1914-1942, 1919-11-01
ORCHESTRA CHORUS
IN FIRST CONCERT
M axes Its Appearances In
Beethoven's Choral Fantasy
With the Orchestra

The concert of the Philadelphia Or
chcstra yesterday afternoon was marked
by the first appearance of the new
Philadelphia Orchestra chorus. An un
usually large audience was present, Mt
tractcd by that event aud the fact that
Nine Samaroff was the sOloist
The program opened with the power
full Romeo and Juliet overture
fantasy of Tschaikowsky. With Bis
natural inclination toward the sonibcr
and tragic. the great Russian composer
found in this medieval Italian tragedy a
theme which appealed strongly to him,
and the composition is worked out with
great skill and his customary richness
of orchestration. Mr. Stokowski, in his
reading. followed closely and syinpa
thctcally the obvious intent of the cons
poser. and gave an effective interpre-
tation.
Nine. Samaroff then played the Liszt
concerto in \ major. The work makes
"A frcrr use of several of the orchestral
instruments as purely solo Instruments,
using them mclodically. with the piano
having brilliant hgurations against the
main themes. than do most piano con
! certos The effect is delightful and
altogether justified, as the work is In
one movement aud so free in form as to
be almost a fantasia.
Nine Samaroff has never played hera
better than she did Yesterday. her touch
being delicate. even and firm. producing
beautiful tone. Much of the piano,
part is arabeSQue in style. requiring
great flucncy and dclicacy of execution,
and this was Splcndidly done. while ~
the same time there was no lack of
power in the more vigorous passages
The symphony was the f. fat of Mo-
zart. the first of that wonderful trio of
/ sympathies composed in the summer of
/ 1ISS. Mozart is always hard to play,
because of his clarity, and hard to inter-
/ prrt because of n seeming simplicity
which covers an amazing complexity Of
composition. Mr.. Stokowski took the
whole symphony, but especially the
opening allegro and the andante. at a
somewhat quicker tempo than hereto
! fore. with n decided gain in effect.
The chorus made its appearance in
| the closing number, the Choral Fantasy
of Beethoven. for piano solo, ,orches-
ira and chorus Nine. Samarof playing
the piano. The work is undoubtedly
the forPrunner of the Ninth Symphony
but far below that great composition
in imagery and grandeur. 1t is elabo Z
rately scored, showing off almost all TIL
instruments of the orchestra in til
I
ures of a solo string quartet admirabls
performed yesterday by Messrs. Rich,
/ Dubinskv, Belov and Kinder. The
piano solo was. of course. beautifully
playpl by Nine Samaroff.
1t vas in the chorus, however. that
the chief interest lay. Beethoven was
pre- eminently an instrumental com
poser, and his vocal parts often do mol
have the unity that is possessed by
those of Bach and some others. This /:
the case with the Choral Fantasy, al
though the parts are not so hard al
those of the Ninth Symphony. tn,
messe socnnelle or even in Mass in G.
The chorus was about POO in number
and considering the fact that they hat
been in rehearsal only about month
their work was remarkable. The part,
were we'll balanced the tone qnalit,
agreeable aud controlled throughout
and the singers knew the compositioi
thoroughly. Mr., Stokowsk has her
the foundation for a sody of singer
which in short time will be able Il
produce any vocal composition witt
fine effect