Evening star., 1933-10-18

the memory warmth and giadness of
stimulating quality.
Last evenings program presented
three new compositions of widely differ
ent mood and treatment of subject for
all three CT which one should be CRATE
full to Mr.. Stokowski for introducing to
us. The first. Goldmark's "Sakuntala,"
could be heard repeatedly without its
growing tiresome. so true is the feeling
that gave it form. 1t is poetry, drama
and music all in one. composition of
moving moments of softly floating
melody or s-ACndid climaxes stirring and
harmonious. The celloS were called
upon for great portion of the musical
theme which ran through the entire
overture and so remarkable was their
unison of tone that the effect was as of
one instrument. The violins followed
next and there were fine opportunities
for the WoodWlndS to put touch of
force and character to the fairy-lik
fantasy. Goldmark has written the
overture without super1uous embellish-
ments and what he has put into it is a
richness of imagination that flows with
genuine impulse. Mr.. Stokowski
seemed to revel in the poetic variety
with which he had to deal and his SYM
pathy and understanding recreated the
fidelity to atmosphere.
From the spell of Sakuntala the
transition to Werner JoSten's Concerto
Sacro" was not a happy one. The con-
traSt between the two compositions was
too sharp and it was almost impossible
to Judge the concerto independent of
the impression left by the overture. The
subject which Josten has selected sug-
gests many beautiful things to every
individual, but it cannot be said that
he has made satisfying musical story
of the sacred theme. While subdivid-
/ ing his work with titles that are poig-
nant with human feeling he has sought
to add the sacred atmosphere by means
of a barren liturgic musical form and
at no moment does he give the impress
SION of the marvellous emotion that
must have swept the Virgin in her ex
perienceS or linked the human and
divine through the medium Of inspired
harmony The introduction of the
piano was a decidedly disturbing in
vention and in no way achieved some
thing that orchestra could not have
taken care of alone.
The third novelty was Gliere's "Ya-
blochko." in which a modern treat
ment revitalized an old Russian melody
Rhythm. vitality. strength and good
health gayly worked up to magnificent
heights and brought forth such ap-
plause that comes with the recognition
of glowing musical color and remark
able technical fireworks in which the
orchestra put its entire heart and soul.
Tschiakowskis Fourth Symphony"
which followed this introduction to Rus
sian harmony. appeared frail and ailing
after the eXuberance Of Gliere, and it
was only by concentrated attention that
the lamentings of his suffering soul
could come to proper consideration.
StokoWski interpreted the symphony
with beautiful regard Of the substance
of yearning and trouble, that return
again and again, and he elevated it to
dignity and poignancy that found an
echo in an entranced audience.
After repeated recalls StokoWski asked
permission to play two recently re-
| hearsed numbers as encores, and he
reverently proceeded with Bach's Zine
Feste Burg Ist Unser Gott" and "Komm
Suesser Tod" sending the audience
home under benediction of unforget-
table beauty.