The Washington times. [volume] (Washington [D.C.]) 1902-1939, 1920-11-17
STOKOWSKI PLAYS
UNDER DIFFICULTY
Heavy Settings Of Current Thea
ter "Show" Hurt Acoustics
At Recital.

Washington owes Leopold stokowski
An apology, and also the entire Phila-
delphia Orchestra. We seem to take
Capital. as incidental happenings that
can be dropped In at odd moments any
where. Mr.. Stokowski was entirely
justified yesterday afternoon when he
showed his discomfort over playing a
carefully prepared program. for which
We have come a long distance" behind
the heavy settings OF the current theater
show" my wind instruments are be-
hind Transformations" the tone spoke
'loquently. I'VE will do what We can"
Acoustics are essential for music.
We have longed for beauty OF en-
yironment. but over and above that
must be the right sounding board.
particularly for an orchestra-that
single instrument OF hundred
voices.
SHOULD BE NO RECURRENCE.
The incident 10 worthy of elabora-
ton because with our many concerts.
adequate prices, and large attendance
something Ia due both the artists and
the public. Theater or concert man
ayers should provide against its re-
currence.
The program was a beautiful one.
The character Of the symphony doubt
less provoked the issue. that delayed
the opening Of the concert about
half-hour. 1t was the Brahms Fourth
symphony, delicately lovely in detail.
that owed it's Interpretation to the
variety OF shade OF phrases as they
were reiterated among the instru-
ments. Soft chords OF the wind
choirs did come to us freely. the
"giocoso" was delicately graceful for
violins. but the yelling body OF tone
OF the finale was scattered up into
the cerulean blue!
KINDER As sOLOIsT.
Even with the novelty Of the Italian
Rhapsody and the Incompatible music
OF the Love Death" from Tristan"
the playing Of Hans Kinder, in the
Tschaikowsky variations on a Rocco
theme for cello. stood out compel
lingly. 1t Was particularly interesting
to find this young player--whom we
knew as part of the Philadelphia
Orchestra in former years-play first
very artistically, but suddenly. with
the advent OF the cadenza, rise TO
real heights OF pastery.
His vibrant cello held n depth and
wealth OF tone that sobbed and
touched with emotion the rare ca
dences. while he gave with the facile
execution of the violinist virtuoso
phrases OF pure double stops and trills
and execution. Midway between the
opening and the closing of his COM
position. Hans Kinder stepped out
as a soioist of dominant force. while
the orchestra gave the music a set
ting Of rare color and sympathetic
balance.
"ITALIA- IS UNUSUAL.
italia" the new composition OF
Casella, Is full of the stranseness ~
the ultra moderns, in tonality OF
weird strains. 1t was delivered with
greatness in the orchestral body. but
there are long passages Of snter rich
Of sound. with little
variety in it. How unlike that flow
ing, surging background" OF Wag-
ner with which he holds together the
melodies of the "Tris-
TAM And then the Italian almost
amuses with his fandango dancing
amid familiar strains OF folk lore. and
delights In fancy too. II was most en-
joyable. from its Russian frenzy to
it's elaborated echoes OF Italv.
We claimed Mr.. Stokowskis plant |
As our own in the Wagner music, for |
there was lost something Of that |
yelling forth OF the orchestra. Yet |
always the deep blend. that marvel |
ous orchestration. came in the UNI !
vibrancy of the Philadel- |
ohia players, marking rare treat in |
he first concert of their series that !
was given to a capacity audience.
JESSE MacBRIDE.