Evening star., 1922-04-06
Philadelphia Orchestra Recital.

The Philadelphia Orchestra gave its
| farewell concert Of the season at the
National Theater Tuesday afternoon
/ before an enthusiastic audience which
! packed the house to the doors.
! The program, of more than usual
interest. was a music masterpiece de-
picting tragedy in all its varying
shades. The tragedy of lost souls
doomed to sail the seas was expressed
| in the overture to THE Flying Dutch
| man." the tragedy of queen of long
castle moldering in ruins was sound
ed in Mendelssohn's beautiful Scotch
Symphony while the final number.
Strauss tone poem. Tod und Nerkla.
! rung." shrieked forth the Tragedy Of
approaching death, grim, relentless,
and terrifying.
The Wagner overture seemed to
. throb with the surging restlessness or
the sea, while thunder vaguely
rumbled in tie distance until a sud
den swift crescendo brought all the
crashing fury of the tempest in
climax almost 'deafening to hear. A
brief lull in the storm was expressed
! by low plaintive melody, until the
rising elements stamped 1t out, ana
the wind and thunder again ragged
supreme
In the Scotch Symphony" Men
pathos and even some of the gayety
Of rugged Scotland, and has skill
fully woven them together in the
varying movements of his compost
ton. The beauty of lakes nestled in
their mountain beds. of wind swept
downs carpeted with heather, OF the
ivy-softened ruins of Holyrood
Chapel. where Mary was crowned
Queen of Scotland-all this is ex-
pressed in low minor strains, while
tfN.. .taI,
| vaguely heard. like a piper far off in
| the distance, or there is sudden
| restless motif, like the signing of the
wind. or perhaps. of a wandering
| spirit. Every shade of meaning in
this harmonic sketch was interpreted
; with supreme artistry by the musi-
clans, and the second movement was
| especially well executed, with the
| strings and wind Instruments alter
nately echoing the Scotch melodies
I with exquisite delicacy of tone.
! The Strauss poem was almost dis
! turbing in it's magnitude. for all the
haunting fear of death was voiced in
tremendous ear-splitting climaXes
| while "reminiscences of life We're in
the form of soft. wistful passages in
| which the harp and violin took the
| ascendency. The struggle of a dying
man with death was depicted by a
| stirring battle of conflicting motifs
i each group of instruments opposing
! the other. and yet all strangely in
harmony. until the finale came with
THE entire orchestra in unison to ac-
claim death triumphant.
| Nine. Nina KoshetZ. the soloist. has
! a clear lyrical soprano voice and the
gift of distinct enunciation and i'm
presSive Interpretation. Her most un-
usual selection was a Melody" by
PrOkofieff. sung without words. in
| which the theme was as distinctly
, oriental as queer jangling Chinese
| instrument.
| Moussorgsky's "Reverie and Dance
from Fair of Sorotchin," was sad a,
| the beginning, but quickened to a gay
, Russian dance tempo at the last. and
Nine. KoshetZ voiced both moods
| with equal facility and artistry The
| letter scene from Tschaikowsky's
| Eugene Onegin," her first number
was also excellent. for it's wistful
! melody. at times clouded with emo
ton, found perfect expression in the
sweet tonal quality of her voice.
All her selections were greeted with
applause which amounted to an eva.
| ton. and the audience RENAL fned
standing at the end of the concert to
give a rousing tribute to Mr.. Stokow-
ski and bis group Of MASTER mu-
! AicfAns. E. d. EBY.