Alexandria gazette. [volume] (Alexandria, D.C.) 1834-1974, 1922-02-02
Symphony Concert
(Guzette's Staff Reportcr)

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The concert given by the SYMPHONY
Orchestra in Washington last night
comprised one of the most delightful
programs Of the season.
The Frenchman who conducts the
orchestra sure sings wicked stick.
When any of his men go to sleep on the
Job he jumps at him with both feet
and both hands and wakes him up.
We noticed the fiddlers more than
once, apparently nodding over their
work. We felt sorry for them, as they
had probably played at dance the
night before and were tired out. Any
way, sometimes you could hardly hear
them. The toot ongsomble was rich
and juicy, except now and then when
the brasses failed to put on the brakes.
The wood wind was also little rag
ged on the edges, but came in strong
when the strings needed help. There
was yard-wide breadth in the phras-
ing for which this orchestra is motor
ious. The tone color was superb eN-
cept the tendency to put too much
yellow in it.
The Tschaikowsky Symphony in
f minor is well-known concert
number here in Alexandria, and the
orchestra's attack was fast and furi-
Gus. The organ effects and the
delicate breath-work allotted to the
clarionets in the Andante were
brought out with a harmonic insist
ence that, fetched tears to the eyes OF
audience and performers alike. The
lovely tidbits for the violas and cellos
were properly accentuated with the
right degree of scrupulosity in the
tender little Andantino. The PizZicato
of the third movement was carefully
phrased and played with the right
pep. The tenor drum, however, play
ed f sharp twice when it should have
been E flat, but this was unnotlced
except by the sensitive ears OF experts.
In the big finale everything went off
smoothly The bass-drummer used
his left foot once in working his in
strument when he should have used
his right. He lost half a beat in con-
sequence but caught up again IN the
fifteenth bar.
The Carnival in Paris" is one of
those new tone paintings essayed by
modern composers. 1t is a medley
and a mixture of the sounds Of
street paved with Belgian blocks; you
hear a dog-fight in the distance; a
feline solution of the eternal triangle
on back-fence; the strident cries of
street vendors, given by the 6 strings
Of the bass-viols; shrill dialogues of
the mesdames of the wash-tub; boys
at play and boys at fight; and through
it all the over-tones of great city.
M. Monteaux, the conductor was
in his element. He was evidently at
home in this carnival of his native
Paree. He danced, ne jumped, ne
fought, he threatened, ne plead. ne
caioled, he gesticulated, as only
Frenchman can. He got his effects
bv shading the tone and by grouping
his instruments. His foot-work IN
this last method was beautiful. He
fairly sizzled with energy. One
group played in two-four time; an
other in three-four; while third
group accumulated the insouciance OF
the piece by playing in both tempos.
NJ. M0nteauX accomplished lHis IN
usual feat gracefully and effectively.
In fact it is said, he can conduct IN
five different tempos simultaneously
by the use of hands, feet, and head.
The Debussy Nocturnes were haunt
ing, as usual, in their fantastic
melody. They were fairly bizarre in
their "Reminiscences of Notwithstanding
on lonely road at midnight. They
were rendered with that sympathetic
technique and comprehensive grasp
that has made this orchestra famous.
On the whole, the concert was one
Of the seasons best performances, and
it is to be hoped they will come again
and do it some more.
HITJT THRACC0