Evening public ledger. [volume] (Philadelphia [Pa.]) 1914-1942, 1919-01-04
ORCHESTRA GIVES
A GOOD CONCERT
Mendelssohn Scotch Symphony
and Berlioz's ''Faust" Well
Played; Maggie Teyte Soloist

At the concert of the Philadelphia Orches-
ira at the Academy OF Music yesterday
afternoon Mr.. Stokowski introduced a new
and most commendable innovation by ind-
eating that the audience remain silent be-
tween the movements Of the Mendelssohn
Symphony as directed by the composer him
self in the score. This intimation, which was
conveyed by a single gesture. was obeyed
with decided gain in the total effect of the
work. which was thus presented in its en-
tirety and not broken into by applause
which, however we'll deserved. is, neverthe-
less. somewhat distracting alike TO audience
and performers.
Mr.. Stokowski did the same thing between
the first two numbers of the Berlioz eN-
cerpts. but permitted recognition OF the beau
tiful work OF the orchestra after the Dance
of the Sylphs' and before the beginning of
the Hungarian March. At this point. how
ever. IL did not matter owing to the lack OF
connection and the marked diss mlarity be-
tween the second and third excerpts. 1t is
TO be hoped that this precedent will continue
at least in symphonic works or others where
there Is a strong correlation between the vari-
movements.
The concert opened with the "Alceste"
overture Of Gluck with the Weingartncr or
chestration and ending. The overture has
often been played by Mr. Stokowski. but was
unusually well done yesterday and was
second of the purely orchestral numbers was
the tuneful Scotch symphony of Mendelssohn,
work of melodiouS content, If not very pro-
found nor, in the last analysis. exceedingly
Scotch either in thought or feeling 1t was
interpreted with great regard for tho orches-
trail detail by Mr.. Stokowskl, and the classic
architecture in which Mendelssohn had no
superiors was clearly shown, partly in the
way II was read and partly In the fact that
the orchestration and the counterpont Is not
so heavy as to overshadow everything except
orchestral color, of which, however. the work
has plenty.
1t was I'm the Berlioz excerpts that the
orchestra did the best work of the afternoon
The Menuet des Toilets, with its very con-
spcuous parts for the wood winds. especl-
ally the higher ones. and its strong dynamic
contrasts was splendidly played with n spirit
that carried out to the last degree the idea
of the composer. In the following number
the lovely "Danse dos Sylphes' n model
of dellcacy. notably the close between the harp
and the tympani The rather noisy March
Hongroise." which closed the concert. was
played with the full force of the orchestra.
bringing the program to triumphant II
somewhat explosive finish.
The soloist was Maggie Teyte, who sang
the familiar "Noi che Sapcte," from the
Marriage OF Figaro" of Mozart and the
| recitative and aria of Liza from Debussy' 5
| "Prodgal Son" Like most of the other sing
| ers who have appeared here this year. Miss
Teyte appeared to better advantage in the
Debussy number than In the Mozart. Her
voice is not unusual in range quality. but
the DebuSsy aria gave her a chance to dis
play her dramatic ability, while the older
masters work requires system of vocaliZa-
| ton in which she does not appear at her
| best She sang slightly off the key at the
beginning of the Mozart number, but this
was corrected before it closed. Both selec-
| tions were well received by the audience.