Evening public ledger. [volume] (Philadelphia [Pa.]) 1914-1942, 1921-02-05

The program presented by Mr.. Sto-
kowski at the concert Of the Philadel-
phla Orchestra yesterday afternoon was
made up of works by French composers.
with the exception of the last number,
two excerpts from THE Twilight Of the
Gods"
The concert began with n good per.
formanCe Of the "Carneval Roman or
Berlloz, one OF the comparatively few
works OF that brilliant orchestrator
which have themes of any real musical
value. Then came the novelty the RaNel
suite. a piece OF French music of the
utmost delcacy and atmosphere, both OF
composition and OF scoring. As Is fire.
quently tho case with French composers
since Dcbussy showed his new tints In
orchestral color. the wood wind Is USED
as the basic choir instead OF the strings
az in the older compositions, the latter
merely providing the background. The
suits is in four numbers rhythniCally
and In spirit reminiscent Of the old
time dances in the form of which the
numbers are composed. but with char
aCtcriStiC modern harmony and instru-
mentation. II was as beautiful mod
crn composition as Mr.. StokowsH has
given us Tor long time and Will well
bear an early repetition.
The symphony was that OF ChauSSon
in B fiat, work which had been heard
here first when VI. Catherine played II
two years ago rs guest conductor with
the Philadelphia Orchestra. and once
since by the Boston Orchestra. The work
was written thirty years ago and has
had only sporadic productions since.
Nevertheless. II Is q fire symphony, at
least according to the French sym
phonic plan, and will probably take its
place in the repertoire Of the great
orChestras.
Before playing tho work, Mr.. Sto-
kowshI spoke briefly about II. He ad-
mitted many defects in design and that
II had little new harmoniCally in II,
but asked the audience to note especially
that, like IN" TSChaikOWsky symphonies,
It was written from the heart and not
rom I'll" head alone; that tho composer
had paid Nt,lC attention to academic
precedent in composing 1t: he wrote
what he felt IIa also spoke Of the two
moods contained in the work, n gentle
melancholy underlying all and the naive
almost child like expression of the COM
poSerS love Of nature and of the beau
tiful.
Tho symphony proved to be about rs
Mr. StokOWsk mad outlined, even admit
ting that II IS always easier TO follow
Il conductors reading when he gives his
idea OF the work verbally In advance,
The first movement, after IL hymn-lik2
+ ~ IOu action, e, full OF EruCe and beauty
and contrasts strongly with the somher
/ almost tragic slow movement wniCh fol-
| IOws It. The finale Is the most vigorous
/ OF the three movements and the work
| closes with the same melody as in the
/ Introduction ., the rlrst movement.
The symphony Is not an epoch max
( ing work by any means and the fro,
/ QuoRt changes Of tempo give It a rhap.
sodtc rather than purely. symphonic
character The workmanship outsid,
Of the design Is good. and while there
are ocCa siouN traces OF Cesar Francl;
as thcrc arc in nearly all French or,
chestral works, still 1t Is original orches,
composition and original in orchestra
| tlon. IN" concert closed with th,
Funeral March and the closing seen,
from "Thr Twilight of the Gods" bou
well Interpreted and enthusiastically
PLAYED