The Washington times., 1936-02-10


the top and file them IN Glphooet
If anyone went to the concert
yesterday afternoon at Constitu-
ton Hall with any misgivings as
to George Gershwin's ability as
conductor because of the published
report that "It'S like croQuet
player taking up baseball" this
delusion was soon dispelled by the
mastery manner in which he con-
Quoted the National Symphony
Orchestra in his own suite from
the opera, 'Porgy and Bess."
Mr.. GerShwin's appearance as
pianist and guest conductor
brought out a record breaking
crowd, in fact. about 500 people
were turned away. Unfortunately,
too many Washingtonians seem to
have the idea that a good seat for
the symphony concerts may be
picked up the last minute, Would
this were always true.
DR.. Hans Kinder opened the
concert with a group Of works
that made a delightful. contrast
ing prelude to the more modern
and brilliant works of Gershwin.
While the Vivaldi Concerto
Crosse in D Minor" is not some
thing that causes an audience to
stand UP and give vent to wild
cheers as happened at the end Of
the program, yet the solid beauty
Of tone Of the strings raviShed the
ear in a most satisfying manner.
The Professional Dance Of the
Blessed Spirits" from "OrpheuS"
(Gluck), was characterized by O
beautiful solo on the flute with
well-regulated accompaniment on
the strings. In Smetana's sym.
phonic poem, THE Moldau," there
was a blending Of the rippling
water, the hunters call. the peas
ant wedding music, the mighty
rapids, the revelry Of sprites and
the calm, majestic flow Of the
river on its way to the sea.
In playing his Concerto in F for
Piano and Orchestra" Mr.. GerSh-
win did not attempt, as does Jose
Iturbe, to direct from his position
at the piano. A GerShwin compost
ton is too filled with complicated
rhythm and phrasing to make it
possible for the pianist to conduct
the orchestra.
DR.. Kinder conducted the Or
chestra, the members of which
seemed to play with a sparkling
brightness and interest as if they
had been concerned so much with
old masterpieces that the Ger
shwin music gave to welcome out
let for pentup desires to play
some modern music.
Although Mr.. GerShwin's con-
certo may be clasSed as modern, it
is not expressed in the ear-Splitting
harmony, or lack of harmony, that
a Bartok is capable Of. There may
be occasional diSSonanceS, but the
contagious rhythrns and appealing
melodic themes make music that
is easy to listen to and that de-
mandS attention.
The Charleston rhythmS Of the
orchestral introduction of the first
movement lead to an intriguing
opening theme on the piano. The
piano continues with chromatics
and arpeggios that call for some
considerable skill of execution, but
at no time does it seem that the
piano solo was conceived wholly
as an exhibitionistic medium. At
times it is Subdued and enters the
orchestra on the same level as the
other instruments.
The haunting blues of the Sec
ond movement are introduced by
a slow lament first on the French
horns and then taken up by the
woodwindS. The pace Of the final
movement is set with the intro
duction of the xylophone and con-
tinueS to the end in a riot Of bril-
liant passages for both the piano
and orchestra. -.
In the suite from 'Porgy and
BeSS," which Mr.. Gershwin re-
Gently arranged and orcheStrated,
the characteristic rhythms and
sometimes mournful tunes are
combined into a colorful selection.
The hurricane music, as a purely
descriptive piece, is quite vivid and
ranks high with the attempts OF
many other composers in pictur-
ing storm scenes.
The audience literally stood