Harrisburg telegraph. [volume] (Harrisburg, Pa.) 1879-1948, 1919-12-11

planned program. with magic pow
er and skill. MIR. Stokowski has q
magnetic personality, made up OF
dSnamic force and musical vision.
he has good mixture of the poetic
and dramatic which he uses with
rare judgment and a keen sense OF
proportion.
The program opened with The
frying Dutchman Overture" which
Is really symphonic poem, woven
about the most important and vital
motifs of the music drama. The un-
ending. mystifying sea. the spectrai
atmosphere, the restless and threat
| ening elements, contrasted with deep
human emotions of pleasant SIM
pltcity, are not only depicted by tone
painting, but by subtle musical sug-
gestion as we'll. In Wagner's works
,, especially his later ones - more
than any other. we find truth of ex-
preston In its best sense.
All the resources of the orchestra
We're brought into play in this mag
nihcent and moving number, which
was played with broad sweeps of
tone, calling forth startling dynamic
effects suddenly subdued to the most
lovely effects, now by the wood
wind choir and again by the strings.
A very noble and impressive num-
ber.
The orchestral prelude, "L'Apres
midi dun faune," by Debussey,
startlingly illustrates the difference
between the French impressionists
and the old German symphonic tra-
ditions. The prelude is what We
call atmospheric, and suggests what
is most personal to Debussey-that
narrow range of moods and sensa-
tons, (which we may term poetic,
medltative or romantic: and are
therefore said to have atmosphere.
The orchestra played this with skill
and beauty, the misty ehromatic
quality being maintained. weaving
harmony that seems the very bios
somins OF the theme. The whole
tone scale, which Debussey helped
to popularizze, is also used TO great
extent.
Rimsky Korsakov's symphonic
suite, "Scheherazade," his greatest
orchestral works really a fine at
tempt at story telling. 1t does not
definitely picture series of events;
1t is in fact, rather vague in an OBJ
jective way. 1t does. however, sug-
Sest many scenes and places and in
cidentS. II suggests vigorous action
and also luxurious Oriental idleness.
The themes themselves, however
often repeated-carry pictorial sug-
gesttveness; and the second and third
movements are decidedly suggestive
of Oriental scenes and incidents. The
fourth movement, narrating the story
of the sea and the shipwreck, is
skillfully developed and scored. The
storytelling motif returns again,
leading into soft, charming. dreamy
chords. saying plainly that the prince
and princess lived happily ever
afterward.
The three movements of the ID
minor concerts for violin and orches-
ira, by Henri Vieuxtemps, were
wonderfully we'll played by Thad-
deus Rich, the soloist of the even
ing. Mr.. Rich has grown apprecia-
bly, in his art since his appearance
here some four years ago. He has
an easy mastery of bowling and I'm
gering-a sustained legato and sing
ing tone that is enhancing in its
loveliness. The recitative and ca
denZa figures in the opening move
ment were given with a mastery
and style, together with n spark
ling technic that stamped him first
rater. The second movement, slow
ter, was played so we'll that it won
the closest attention and highest ap-
proval of the audience.
The third movement, played with
fine fiuency and exactness, demon
strated further Mr.. Rich's thorough
mastery of music and instrument.
There was a dash and surety that
was exhilarating, and conveyed un-
mistakably to the audience. that in
Mr.. Rich America has violinist de-
manding international recognition.
The orchestra, directed by Mr.. Sto-
kowski, was beautifully balanced,
controlled and timed. and seemed to
be at all times taking special pride
in giving MIR. Rich their very best
support in an accompaniment that
was interesting and exceedingly well
played. The concerto is good music.
The large audience was very, very
enthusiastic, and both conductor and
soloist were recalled many times,
and even the men of the orchestra
had to stand in acknowledgment to
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