The Indianapolis times. [volume] (Indianapolis [Ind.]) 1922-1965, 1936-01-24
Super|ative Concert Given
by Minneapolis Symphony
for Fur-Attired Audience
Now It's Easy to Realize
Why 0rmandy Has Made
Rapid Progress.
BY JAMES THRASHER

1t has been two years since the
Minneapolis symphony orchestra
appeared in Indianapolis and 1t has
been two years since this city has
heard such superlative orchestral
playing as was given last night at
English's with the return of Mr..
Ormandy and his men.
To hear and see Eugene Ormandy
is to understand his phenomenal
progress from a violinist in Roxy's
orchestra 10 the appointment to one
of the country's two most important
musical posts in a little more than
five years.
First Of all, he raises the physical
act of orchestral direction to an
artistic plane. The transference of
musical thought into motion almost
is visible, with every change of
mood apparent, although discreetly
even to the most unmusical.
Feel Presence of Master
In listening to the performance
that Mr.. Ormandy calls forth, we
feel the presence of masterful mu-
steamship. Excellent Snowman that
he is, the intention of the composer
always is in evidence, yet warmed
and colorful by his own intensity of
musical feeling.
There is a sure sense of dramatic
as we'll as dynamic values in Mr..
Ormandy's readings; vitality con-
trasted with grace and tenderness;
climaXes built from a whispering
pianisSimo to a powerful forte,
which, when the emotional heights
seem to have been reached, are
super climaxed" by the brass choir.
These are thrilling moments in any
ones musical life.
Now to the program. 1t opened
with Bach's PaSSacaglia and Fugue,
written for organ and scored by
Herman Boessenroth, librarian and
arranger of the orchestra. Happily,
Mr.. Boessenroth has not "over or
chestrated" this masterpiece, as has
happened from time to time with
other Bach works.
Its Warmth Undimmed
It retained it's character, both in
the arrangement and in the presen-
tation, whose warmth never dimmed
the arrangement and in the pres
The symphony of the evening was
the Beethoven Seventh. 1t is work
full of the joy of living, and, If not
the most ponderouS of the masters
works, surely one of the most pleas
ant to hear. The freshness of it's
melodies and ingenuity of its de-
sign are never-waning delights. Mr..
Ormandy conducted the work as we
always should like to hear it done.
Tempos, subtly shaded cadenceS-
everything seemed unchangeably
right.
We don't know the name of the
young solo flutist with the Mime
apolis orchestra, but his work in De-
,bussy's 1.-THE Afternoon of a Faun"
and throughout the concert de-
serves notice At the close Of the De-
busy prelude, Mr. Ormandy brought
him forward for deserved share in
the applause.
Saint-Saens described the Queen
Nab" scherzo from Berlioz's "Ro-
meo and Juliet" symphony, heard
after the Debussy on last nights
program, as "a miracle of lightness
and gracefulness." 1t is that, and
a trying test for players and leader
as well. The themes toss from one
choir of the orchstra to another like
a feather waited on summer
breeze, but the transparencies re-
quire players of consummate virtu-
osity to put them across" The
Minneapolis men are just that.
The brilliant and exciting First
Rumanian Rhapsody of Enesco end
ed the compositions listed on the
program, but a wildly demonstra-
tive audience clapped and stamped
and shouted, and took their reluc-
tant departure only after three en-
CoteS.
All who heard MIR. Ormandy last
night are sorry to see him leave
the Middle West. His appearances
here have been memorable. But we
are glad of the opportunity afforded
by Mrs. Martens to hear him and
his splendid band once more, and we
wish him success.