Evening public ledger. [volume] (Philadelphia [Pa.]) 1914-1942, 1919-11-04
RACHMANIN0FF WITH
BOSTON ORCHESTRA
SoIoist Scores Great Triumph in
Fine Notwithstanding
Work Also Performed

Sergei Rachmaninoff, one of the
greatest Of present day musicians.
whether judged as composer or perform
er, was the star Of the Boston Symphony
Orchestra concert at the Academy of
Music last evening. An immense audi :
ence was attracted not only by the solo =
lst, but also by the first appearance of
the Orchestra under the new conductor,
Pierre Monteux.
Mr.. Rachmaninoff played the Liszt
concerto in Il fiat, commonly known as
the triangle concerto" on account Of
the piquant solo which that instrument
has. an honor rarely conferred upon an
| instrument of percussion, especially in
a concerto. His reading was highly in
dividual, but without the slightest in
fraction of the Liszt traditions. 1t was
an entirely masculine Interpretation
without the least approach to senti-
inentahzing, although it was full Of
delicate sentiment. His tone was as
always. round and full and of great
power in the fortissimo passages. He
has the strength necessary to play the
tremendous close of the concerto with
out being overwhelmed by the orchestra.
although Mr.. Monteux used the entire
orchestra for the accompa niment. 1t
was mastery performance of one of
the great compositions Of all time for
piano and orchestra, and Mr.. Rach
maninoff received large number of re-
calls at the close.
The orchestra itself appeared in three
compositions, the Schumann symphony
in b fiat, the overture and the fifth
ballet from Beethoven's ''Prometheus"
danced legend, ''The Bird Of Fire." The
orchestra was at its best in the Stravin-
sky number, and at its worst in the
symphony.
AS whole the orchestra shows q
decided improvement over its form of
last year, as the tone is better and
there appears to be a return to the
discipline necessary to a great orchestra
and which was so nOticeably lacking,
especially toward the close Of last sea
son. In the symphony, however, there
was little shading, the tonal quantity
of the orchestra being nearly on the
same level throughout the work. There
were spots, too, where the rhythms were
not distinct and where the characters =
/ tic Syncopations of Schumann were de
/ cidedly muddy, and there was an un-
| happy moment or two at the close of the
| scherzo.
On the other hand the tone quality
was fine throughout in the melodies
with which the symphony abounds,
especially in the wood wind The at
4 tacks were good, although there were
places where the notes were not re
leased together. notably in the first
violns. Mr.. Monteux's Interpretation
was generally along the conventional
lines, but he took the last movement
slower than it is usually played. with
consequent gain in clarity, but =, a
corresponding loss in the spirit Of
springlike joyousness that the symphony
epitomizes.
The Beethoven numbers. rather in
frequently given work of his first pc
riod. were well played. The ballet
music allowed some of the solo instru
ments of the orchestra an excellent
chance to show their fine tone quality.
the "soloists' being Messrs. Bedetti.
the new solo cellist; Laurent, first
flute; Sand. first clarinet Laus. bas
soon, and Holy, harp. 1t was an en-
joyable number and well received
The Stravinsky work created most
favorable impression, both as com
position and for the fine manner in