Evening public ledger. [volume] (Philadelphia [Pa.]) 1914-1942, 1919-02-08
MIME. SAMAROFF PLAYS
WITH THE ORCHESTRA
Philadelphia Pianist Gives Fine
Reading of Brahms's Concerto.
Scriabine Poem Performed

Nine. Olga samaron--in private life Mrs.
Leopold Stokowski--was the soloist at the
concert of the Philadelphia Orchestra at the
Academy of Music yesterday afternoon and
gave a beautiful reading of the Brahms con-
certo in & fiat for piano and orchestra.
The concert opened with the familiar Leo
more No. overture Of Beethoven, one of the
greatest orchestral overtures of all time.
which was read and played with taste and
spirit after which came the concerto.
There is probably no work of the matured
genius Of Brahms that is more character
istic of the great composer than this con-
certo, Like the violin concerto, which pre-
cedes it by. only a few opus numbers the
piano concerto is nothing of a "show piece"
but at the same time it makes the utmost
demands upon the technique, knowledge,
feeling and intellect of the performer to make
1t effective. 1t is more austere, both in
melody and emotonally, than the violin con-
certo lacking perhaps. some of the warmth
of the latter both in the solo part and in the
color of the orchestral accompaniment, and
is. therefore, the more difficult to play
Nine SamaroIf's Interpretation of the great
work showed fine sense of emotional
values, but always maintained an artistic
restraint and dignity, In full keeping with
the nobility of the composition. Her tone
was warm and full of beauty in the prnCi-
pal melodies and light and graceful in the
ornamentations of the main themes in which
the solo part abounds. OF especial beauty
was the exquisite andante, where the orches-
tral parts have most Of the melodies and in
which Nine Samaroff's artistry probably
reached its highest point. There was never
any attempt to force the solo part unduly
TO the fore, but the entire concerto was
Interpreted as a composite whole, and the
clear deneation of the musical thoughts
with which it abounds was manifestly the
object of the distinguished pianiste. She re-
ceivcd many deserved recalls at the close of
the work.
Mention must also be made of the beauty
of the accompaniment of the orchestra. The
work is almost symphonic in its general
character and in the elaboration of the the
matte development in the orchestral parts
giving the idea rather of a symphony with
piano obigato than of a cOacerto for sole
instrument with accompaniment The cello
solo in the andante was played by Mr.
Kinder with much beauty of tone and re-
fnement of taste, also the second
subject of the same movement for two clari-
nets and the solo instrument. The relation
of the piano to the orchestra was admirably
maintained throughout, both by the soloist
and the members of the orchestra.
The program closed with the Poem OF
Ectasy by that most remote and solitary OF
modern orchestral writers, the Russian
Scriabine. Mr.. Stokowski has given this in.
volved and difficult work here before, but il
must be confessed that yesterdays hearing
did not make the intent of the composer
much clearer than did the previous ones. In
spite of the program furnished in Mr.
Goepps' notes. II is composed for an enor
nous orchestra, five trumpets and egh
horns being required. and contains every
known modern device of orchestration anC
composition.
The thematic material is fragmentary anC
'omewhat episode and harmonically it il
full of diSsonanceS, unresolVed suspension
and altered chords. while a favorite plai
appears to have been TO write a melody il
one key and elaborate accompaniment
built upon other themes in 'the work. in an
unrelated key.
Just what the ultimate position of thu
composition In modern music viii be can nov
only be guessed at, 1t has all the earmark
of sincerity, but its sheer musical beauty
judged by present-day standards. is open [,
| question, 1t was splenddly played despit
its enormous difficulties. and conducted b,
Mr.. Stokowski with much sympathy an,
| evident enthusiasm.