Evening star., 1933-12-10

passage, the lovely figure Of Frauceeee
s conjured up. It Is one Of Tschaikow-
sky's greatest, tenderest moments. The
theme has three distinct diyisions-a
gentle, Indefinitely tender mt part
which u followed IN the violins hg
thirteen bars Of more passionate
nature, gradually growing, and again
subsiding; and wistful, nearly pen
sive short coda figure, thus giving 1t .
nearly psychological significance.
With this theme, Tschaikowsky creates,
IN series Of quasi variations, Q picture
Of growing love and passion such ss he.
himself, has never surpassed, not even
In Romeo and Juliet" The different
the innocence Of the beginning of the
Francesca theme to the more passionate
second part In the violins, later the
persuasive entrance Of the theme in the
cellos (that most amorous Of tnstru-
mentsD, then the growing, ever In
creasing intensity Of this music, the
gradual introducing Of new caressing
rhythms and ideas until at last this
love theme bursts forth from the entire
orchestra-all these tend to make this
one Of the great love episodes in the
literature of music. Toward the end,
ominously, the horns, with subdued,
threatening fanfare, announce the in
evitable doom; the moment of rest
allowed Francesca to tell her tragic
tale is at an end; she and Paolo must
take up again their punishment; and
the work ends with climactic repeti-
ton Of the whirling figures Of the main
movement.
1.-The Sarabande" by Debussy was ar
ranged by Ravel short time ago, and
will be played here in Washington for
the first time. The original was one
of Debussy's lovely piano works, and
has been adapted for the orchestra by
that master Of modern orchestration,
Maurice Ravel, with the utmost loving
care, and the result is a valuable addi-
ton to the orchestral literature.
The concert will end with the waltzes
from Der Rosenkavalier" by Richard
Strauss which will be played inteUally.
They are by now well known to the
general public and require. in conse-
quence, no special comment. 1t is
enough to say that they are probably,
and deservedly, the most popular
waltzes written by a living composer,
and that they show Strauss at his most
persuasive orchestral self.
The two arias, the first one called
Mon Piu Mesta." from Rossini's
charming opera, "Cenerentola, and
the other the well known "Air de Liza"
from Debussy's "LEnfant Prologue"
will serve TO introduce to Washington
young artist of the Metropolitan, who
has had short but imposing career
Miss hampton has appeared not only
in opera, but has, at % years of age,
as a record, her successful performance
of the enormously difficult Waldtaube
part in Schoenberg's "Gurrelieder" in
the production Of this work by the
Philadelphia Orchestra under Stokow-
ski, as well as that Of the equally de-
manding Kundry role in the Parsifal
performance by that same organization,
the Alt Rhapsody by Brahms, Wagner
excerpts and other works Of impor-
tance. The Non Plu Mesta" aria,
early In the nineteenth century, was SO
popular that both Liszt and Paganini
wrote variations on it for their respec-
tive instruments. It is that rara avis
coloratura aria for zo-soprano-
and will serve to introduce Miss Bamp-
ton in that capacity, in contrast to the
more dramatic demands of the "Air de
Liza" by Debussy, which she has chosen
for the second half of the program.