Evening public ledger. [volume] (Philadelphia [Pa.]) 1914-1942, 1921-12-17

THE fact that styles change In inter-
l. pretntion in music MS well as every.
thing else In connection with the art
had striking exemplification at the
concerts of the Philadelphia Orchestra
couple of weeks ago. The same con
certs showed. among other things, that
| the Beethoven concerto for violin anu
orchestra is composition to be ap-
preached with the utmost respect by
performers on that instrument.
As matter of fact this great con-
certo Is n work to be played by only
few of the very greatest artistS--and
by this is meant interpreters rather
than performers. 1t is also com
position which must have perform
ance of the highest interprctative
standards. or it sounds like second.
rate work instead Of standing as it
does with the Brahms concerto in a
class all by themselves in the literature
of the violin with orchestral accom-
paniment.
All this is meant Ms no reflection on
the ability of Arrigo Serato, the violin
ist who played the concerto on the
day in question. Mr.. Serato was II
pupil of Joachim, who, in his day, was
Justly regarded as the leading ex-
ponent of the Beethoven and Brahms
conccrtos. Mr.. Serato played the con-
certo in exactly the same manner as
his great master and some years ago
was regarded in Berlin as the leading
performer of the Beethoven concerto
and the legitimate successor to Joachim
in this composition. For some reason
or other he did not occupy the same
position there with regard to the Brahms
concerto, although he must have studied
this also with Joachim.
DUT the fact that be played the work
- in exactly the Joachim manner is
probably the principal reason why his
Interpretation was regarded as exagger :
nted in some respects and undcveloped
to the. limits of the possibilities of the
work in others. Musical Interpretation
has changed even in the short time that
has elapscd since Joachim was overload
of the violin--and this applies to the
Interpretation of the violin classics as
we'll us to works for other instruments
and for the orchestra.
Music Is like everything else in the
world. Nothing can stand still; there
must be a. change, whether it be progress
or retrogression. Composition is ex-
perencing the same phenomenon. and
what the verdict Of the next generation
or two will be, as to whether the com
posers of the present day have pro-
gresscd or gone backward. we can only
guess at now. Interpretation Is doing
the same thing, but the sudden presenta
ton of bygone reading of the Bee
thoven concerto simply brought II
strongly home.
But while the next couple of gen.
erations must pass upon the work of the
present day composers, this generation
Is safe In placing the seal of judgment
upon it's interpreters, because they viii
not be here in the next generation tC
present their case any more than the
concert goers will be here to pass thu
Judgment. BY that time a new crop ot
performers and hearers will have beer
rnised and undoubtedly, with new
standards of Interpretation.
TNHE Beethoven violin concerto Il
i unique among the worlds grea
works for this instrument in that there
is no authentic tradition" connected
with it. 1t was first performed b!
Clement. Viennese violinist. for whom
It was composed. and very likely badl!
performed nt that, seeing that he wa
compelled to play the last movement a
sight. Beethoven not having completed
Il until the day of the concert.
Like many other great masterpieces