Evening public ledger. [volume] (Philadelphia [Pa.]) 1914-1942, 1919-11-15
MATZENAUER SCORES (
WITH THE ORCHESTRA
Artist Gives Great Demonstra-
ton of Her Artistry-Modern
italian Number Played

Nine Margaret Matzenauer. the
soloist, bore off the honors Of yester
days concert of the Philadelphia
Orchestra at the Academy of Music
when she showed herself to be as great
in concert work as in opera. The pro
gram arranged by Mr., Stokowski was a
model one from every standpoint. com
prising a number Of highly diversified
numbers and all Of interest
The concert began with the Prone
theus Overture of Beethoven and was
followed by the Haydn & major sym
phony No. IL. Both these works are
well known TO concert goers and both
were spendidly played. a Haydn sym
phony is always interesting for It's
clarity, grace and simplicity. as well as
for its sheer musical beauty and for
the fact that the later ones. of which
this is one, contain the unmistakablp
germs of the modern symphony. minus
its complexity and heavy orchestration.
Mr. StokOwski played the symphony in
one movement.
Madame Matzenauer then sang four
songs, Ever Lighter Grows NV
Slumbcr, of Brahms the Brides Songs
Nos. | and =. of Schumann. and the
"Erlking. of Schubert. the four being
orchestrated by Mr.. Stokowsk. The
choice of the first two was perhaps not
quite so happy as it might have been.
The style of the compositions did not
seem to suit Madame Matzenauer's voice
So well as some others, although they
uitb opfigtpt. Frbn
accompanimcnts are exceedingly pian-
istic in style and therefore very difficult
to translate into the idom of the or
chestra, in addition to which Mr.. Sto-
kowski has made the orchestration so
highly colorful as frequently to distract
attention from the vocal part. In the
third and fourth numbers of the group.
the tender Leave Me in His Arms
Endearing, Of Schumann, and the
dramatic "Erlking.' of Schubert.
Madame Matzenauer found more con
genial media for her fine talents
and both were exquisitely sung.
the first with the greatest tenderness
and delicacy and the "Erlking" with
intense dramatic fervor. Mr.. Stokow-
skis orchcstration of both these num-
bers was artistic effective and. like the
others. full of color.
1t was in the concluding number of
tho concert that Alme, Matzenauer.
scored her greatest success. and at the
close she received an ovation such as
is seldom given any artist by the ordi-
narily contained audience at sym
phony concert. 1t was the final scene
of The Twilight of the Gods CBrun-
hides 1mmolation) and though a so
prano part she gave it in the original
key. Her voice was superb and she
sang and it might almost be said
acted, the great work with a dramatic
force rarely equaled even on the oper
attic stage with its concomitants of
scenery and costume. 1t was a remark
able piece of singing as well as of in
depreciation. Mr.. Stokowski entered
fully into the spirit of the composition
and his handling of the orchestral ac-
compartment was sympathetic and vir-
lie. q
The novelty of the program was a
composition in the general form of Il
symphonic poem by Malipero, an ultra
modern Italian composer. 1t Awas ell :
titled Pause del Silenzio.' and is in
seven short movements, or symphonic
expressions as they are termed
played without intermssion.