Evening public ledger. [volume] (Philadelphia [Pa.]) 1914-1942, 1919-02-01
ALL-FRENCH PROGRAM
AT ORCHESTRA CONCERT
Two Modern Works Get Their
First Performance i'm Philadel.
phia-Henri Casadesus Soloist

Yesterdays concert Of the Philadelphia
Orchestra was devoted entirely to the music
OF OUT sister republic. France. even to the
extent of French guest conductor and n
rrehcn soolst. Before the opening number
Mr. Stokowsl< came upon the stage accom-
panied by the guest conductor. NJ Alphonse
catherine. whom he introduced in few
graceful sentences Mr.. Stokowski then led
the MaTseillaise" in compliment to NJ. Cath
erne' who responded by taking the ba ton
ana conducting the star Spangled Banner"
ooth Were greeted with loud applause by the
large audience
Inc hrst number on the program was the
symphony in b fiat Of Chausson The COM
position, while not being AN epoch king
work in symphonic literature. is good sim
cere music, sanely conceived aud sliilIfully
composed and orchestrated 1t is rhapsodc
rather than symphonic, partially on account
OF its frequent changes of tempo In the same
movement and a certain lack of cohesive
ness in the work a whole, although this
lack Is not noticeable in any one movement
The general tone OF the symphony is meap-
chonc although never morbid. and the sec
Qua movement is full of the Same musical
thought that characterzes the Poeme for
Nlollh and orchestra, recently played here by
Jacques Thibaud. II is modern French music
OF the more conservative tyne and contains
none or the wild extravasances In which so
man! OF Chausson's compatrots indulge in
their works
original In Melodies
The symphony, like all French orchestral
works OF the last half century, shows clearly
IN places the influence of Cesar Franck but
Is nevertheless a highly original work espe-
clalIy IN ITS melodies, and written in the
characteristic idiom of the composer. As a
whole II is a highly pleasing though not
essentially profound, composition, and will
bear further hearings
.Ihe second novelty Of the concert was
rIoreht schmitt's symphonic poem, The
Tragedy or Salome,' which proved to be tho
dlrect opposite Of the Cbausson work 1t is
composed to an exceedingly definite uroerarn
winch was given in the program book and
Is an even more degenerate perversion of the
biblical story than the Oscar Wilde version
upon which Richard Strauss based his weird
opera.
-. The music carried out in spirit the text OF
the program. That 1t is compcsed with
great knowledge and orchestrated with an
equal degree of skill cannot be denied and
IL conveyed with fidelity the sensual re-
pulsve story as outlined in the program. II
s not peautiful music. nor in view of the
program, can ii be called elevating Without
tue program on the other hand II would
nave been absolutely meaningless
AL the beginning OF the second movement
some very difficult vocal parts are Introduced
ana these were splendidly sung by Misses
Mary Barrett Helen Buchanan Mildred
taas, Roberta Lee and Margaret McMullin
sopranos. and Miss Alice Fldler, contralto
fhe Interpolation of the vocal parts is not
maze clear either by themselves, or i,l the
program and they seemed, if not incon-
gruous at least puzzing. Like the voice
parts in Debussy's "Sirenes" which Mr.
stokowsN gave a week or two ago, there are
no words. but simply vowel sounds The ex-
cellent rendition of the difficult parts did
great credit 10 the technique as well as the
musical knowledge of the singers.
The principal result of the performance
or the symphonic poem is that ii gives us
an idea of what the modern French COM
posers are doing and their trend Of musical
thought. In addition, the smooth perform
ance or the complicated and extremely diff
cult work with so few rehearsals, proved
that Philadelphia has unquestonably one OF
the worlds best orchestras.
In Classic style
After the extreme modernism of Florent
Schmtt, the reversion in a moment to the
Lorenziti Suite for viola d'amour and orches-
ira, written almost 200 years ago. came as
a distinct shock. In Lorenzitls day music
was written to convey the idea of pure
beauty and not to the delneation of sur
charged human emotions The graceful melo-
dious phrases served a grateful antidotc
to the tshall we say musical poison?) with
which we had just been inoculated. The solo
part was played by NJ Henri CasadeSus,
whose artistic work well as whose pro-
found researches into ancient music Is well
known to Philadelphia audiences aad there
fore needs no further comment except to say
that the performance was In his usual ex-
celent style. The concert closed with the
Gwendoline Overture OF Chabrier which is
also familiar 10 Philadelphians
AS conductor. NJ. Catherine is typlcally
French in his insistence upon the clear
working out Of orchestral detail as well as
that of composition In the works which he
led He is evidently pronounced modernist
and read all the works with vigor. but also
with sympathy and an understa nding that
denoted much thought and labor upon the
complicated scores. The Chabrier overture
was especially well done In bringing out the
clearness of the rhythms. which are very
pronounced. He was accorded a deserved
recall at the close of the concert.