The Washington times., 1923-12-13
N. Y. SYMPHONY.
ORCHESTRA
SCORES
Tschaikovsky's ''Pathetique"
Symphony Is Outstanding
Feature of Program.
By WILLIAM MOORE.


A friend, whose opinions on things
musical value highly, remarked
yesterday that he could never thor
oughly enjoy Tschaikovsky's PA
thetique" symphony unless his di-
gestive system was out of kilter.
It may be, therefore, that there
was method in his apparent insanity
when, before we journeyed to Polls
to hear DR.. Damrosch's New York
Symphony Orchestra, he had ami
hilated peck or so Of roasted oys-
ters at a famous F street eatery.
And he really enjoyed the concert.
In fact, he remained until the last
horn blew.
At any rate, I do not have to
strangle my digestive system in or
der to thoroughly appreciate cor
rect and artistic rendition of the
last-and, to many, the best-of the
great Russ composers orchestral in
spirations.
Was Outstanding Feature.
The "Pathetique" symphony was
by far the outstanding feature of an
otherwise mediocre program, unless
we except the brilliant work of
prano, who has both good voice and
good looks to recommend her.
The principal theme of the SYM
phony, with its outpouring of long
pent-up emotion, and Slavic melan-
| cholia, always thrills me. Here is
realism to the nth power! No ear.
shocking chords, or technical. aero
battles to BATTLE the audience. It is
the swan song Of a great mana
man, who, tortured in mind and
body, could find no more effective
vent for his emotions than in the
great surge of music which sprang
from the very depths of his harried
soul.
Tschaikovsky, himself, believed the
"Pathetique" to be the best of his
works. But, alasl he was not to
reap the fruits Of his labor for, nine
days after the symphony was given
its premiere in st. Petersburg, he
died.
The "Pathetique" symphony was
the first number in DIR. Damrosch's IS
program yesterday. For the "ul-
tras," he gave Ravels Mother
Goose Suite" and de Falla's Span
ish Dance
Delightful for Color.
The first is charming bit of i'm
pressionistic writing, but the second
has little to recommend it, musi-
cally.
Beauty and the Beast" the first
Of the Ravel suite, was a delightful
bit of color work. Beauty" was as
sweet a little miss as one would
care to meet in q months travels,
while the Beast" was in truth,
jovial ruffian, with a friendly sort
of growl that was not the least bit
terrifying. So the audience thought.
Beauty" is represented by the
clarinet, and Beast" by short
phrase for the bass tuba.
The second Ravel number was
Empress Laideronette," a musical
Chinese fairy tale. This was an
other welcome addition to DR.. Dam
rosch's well-filled bag of tricks.
l was not particularly impressed
with the Spanish number. De F'alla,
a contemporary Spanish composer,
came under the influence of De-
bussy a few years ago, and since
then his works have been tinctured
with the worst Tor best. depending
| on your views of impressionistic
| music) Of ultra-modernism.
To this reviewer, de FaIIa, in an
attempt to out-ultra the ultras, has
only succeeded in turning out an
oleaginous mass of noise, having
neither the sincerity of Debussy or
| RaVel, nor the subtlety of Stravins-
| ky or Schonberg.
Nine. Giannini gave the audience
| a really remarkable bit of work.
With orchestral accompaniment,
she sang Mozart's aria. mon piu
di Fiori,' from "Clemenza di Tito"
Her notes are clear and finely
chiseled, particularly in the upper
register, and she sings with sim
cerity.
Gypsy Songs Score.
She really scored a triumph in
her rendition of Dvorak's -Four
Gypsy Songs.' included in which
was the popular Songs My Mother
Taught Me-"
Nine. Giannini made a profound
impression and was recalled four
times. In the last group, DR.. Dam
rosch played the piano accompani-
ments with his usual good humor
1o POLICEMEN KILLED