The daily worker. [volume] (Chicago, Ill.) 1924-1958, 1925-04-03
MUSIC.
au ALEREp V. FRANkENsTEIN.


TNDWARD COLLINS, one Of the best
II of the local pfanists, was soloist
with the Chicago Symphony orchestra
at Orchestra Hall. He gave the first
performance of his own piano con-
certo. OF this the first movement is
terrible and should be destroyed in
some painless manner In the last
two sections Collins has done big
lob and done it well. His slow sec
ton is somewhat in the nature of a
modernized Chopin. nocturne. His
last movement is called allegro Rit-
mico (All Americana)" which in
rhythm, melodic line, and to certain
extent is orchestration, is in jazz
style. True, the jazz Of the movement
IS as far removed from the real thing
as orchestra Hall Isl removed from a
cabaret, but nevertheless it, is jazz.
and revitalizes the too often dead and
boring concertoe form. sss
There were other soloists on the
program as we'll Alfred Quensel and
vaclaw Jiskra, first flute and principal
bass, respectively of the orchestra,
did some excellent teamwork in the
Bach suite for strings and flutes which
preceded the Collins concerto.
! Another soloist shone forth later in
the performance of the Brahms fourth
symphony, Robert Lindemann, the
first clarinet of the orchestra, who
had the extended solo in the second
movement of that monumental work.
This symphony of Brahms, his last
and greatest, illustrates the composer
at his best and his worst. He had in
spiration and material for three won
derful and unsurpassed movements.
but, being afraid to fly in the face of
tradition and write a symphony in less
than four movements, he tacks on
thirty-two variations on tiny theme
that was not worth writing in the first
place, much less variating. The re-
suit is a movement full of sound and
fury signifying not much of anything.
(And now having written the above
expect somebody to rise in wrath
and deDounce me. About year
PANIED the Brahms fourth symphony
something awful from beginning to
end. This review proves several
things, the main one being that il one
must report musical affairs, one must
be either dishonest or Inconsistency
Aal4s
THE Civic orchestra wound up its
4 season at Orchestra Hall with the
customary program of light, popular
stuff. The program opened with the
time honored overture "The. Dumb
Girl of Portici," by man whose name
love to write, Daniel FRANCHISE Els
prit Auber. A theme in this over
ture is almost invariably used to ac-
company the furious riding episode of
the western movie.i
In memory OF. q Moritz Moskovski,
who died some weeks ago, the or
chestra played two. movements from
one Of his finest works, the suite,
From Foreign Parts" mot an ex-
actly accurate translation of Aus Al
Ter Herren Laender") The German
and Hungarian movements were
played. 49,
Raymond Koch, the soloist gave
masterful performance OF the prolog
to "Pagliacci," and was forced to en-
core with the aria "Dio Possente"
from Faust
There was another soloist in the
orchestra, Myron Russell, one OF the
best English horn players have ever
heard. He starred in the second
movement OF ppolitov-Ivanov's eau
casian suite, calffd Evening in the
Village" Nf
Other works on the program were
the scherzo OF 1lendelsshon' mid.
summer Nights pream" music, the
Norwegian Rhapsody OF Eduard Lalo,
and the march kliat introduces the
second act Of 1T nhauser."