The Washington times., 1922-02-15
CLAV|CEMbAL0
|S|NTR0DUCED
BYST0K0WSK|
Philadelphia Orchestra Leader
Fills Classic Program With
Exquisite Novelties.

Adhereing strictly to the classics,
i'm Bach Handel-Beethoven pro
gram, Leopold Stokowski yet filled
the concert of the Philadelphia Or
.nestra yesterday afternoon with
novelties py himself appearing in
he new role of pianist, or rather as
player of the "Clavicembalo" in the
great concerto" Of handel. and Ivy
giving for the first time in Wesh-
lngion his own orchestra! arrange
ment of the Each organ Passa-
raglia" in 4 minor.
The Clavincembalo Is a sort OF
harpsichord, only in this modern
manner II is a transformed stein
way grand that has an attachment
% give the tone Of the ancient In
strument.
Opens With Filth symphony.
Turning the program upside down,
Mr.. Stokowski began with the
beethoven fifth symphony. in &
minor. Seldom has II Leon given
more stirring int expectation. In
triumphant amazing body Of tone
it reached a tremendous climax. MIR.
Stokowski announced tne dramatic
theme with strong emphasis and
i
played II with an almost ruthless
lpeed, leaving the featnery portion
less in the scheme than the fatality
of its fate notes.
But IL served to further emf has:2e
he exquisite detail o. the Andante
IN which his strlI.s choir re-seating
was amply justified. Through this
rare movement, taken very leisure
ly, the parts were lelt In distinct
mood. The strings were exquIsitely
fair, the tones vellCd, with contrast
ing forte in quick lemOo liz the
brass, and delightful! execution
throughout.
1t was with an orchestral ringing
tone that the power and the delicate
gayety of the last two movements,
played without pause, were given.
The bass viols suffused the whole
with impresslsc holds, there was
mystery in The tone color and bla-
tant triumph, yet always Il sonorous
quality. The orchestra was brought
to its feet and the leader recalled
and recalled.
Bach MOdernized.
When Mr.. Stokowski put the
Bach "Passacaglia" into orchestral
form he must have been amused at
the thought of the surprise 1t would
have been to the composer to hear
such volume of sound. In truth
there is the organ, inagnified ar
gan, with deep BASES and also
there is a charming clarity of the
parts given in great beauty Of tone.
The themes interlace richiy--nore
marvel to the modern orchestra!
The fugue was treated with aInaz-
ing dynamics, and it all had n life
blood beneath the beauty of it's sing
ing airs, the violas distinct In quail
ity. 1t brings these oft-repeated
phrases out with a fascinating i'm
agination that is one of Mr.. Stokow-
skis rich tributes to the tone of the
orchestra.
And then refreshingly, that de-
lightful Handel bit of quaintness
stood between these great works. Mr..
Stokowski brought the same spirit
OF Interpretation into his playing of
the Clavicembalo, with it's tinkling
cymbal one. Fresh tempo, delicious
duos with piano and first violin with
Thaddeus Rich adding quaintness in
the quality of his tone and vivacity
in its playing. But, ah, there was
the modern in the pedalled portions.
The measured slowness of the
Grave" was pure singing, and the
winds were fairly trilling birds. One
felt the rhythm of the director
tone was joyous happiness.
This fourth of the series Of the
Philadelphia Orchestra, presented by
T. Arthur Smith, at the National
Theater, was rare in substance ana
in rendition.
JESSIE MacRRIDE