Evening star., 1937-11-06
By DR.. Hans Kindler.

ID LII. II uUS n IHutCTs
Tn. The program tomorrow is as follows; .
Choral pEsluds. % Mensch. B.gein ~
"Poosi Amor'" Amor ioSS DoSe sono." from ann-Aese'
The Marriage of Figaro - Mozart
Symphony in c Major" mo. 90 Haydn
Intermission.
"Depuis le Jour, from ..
Miss Bori. soloist
Excerpts from "PetruSka" Stravinsky
"Toccata" --F -Frescobaldi
TT WAS my pleasure last Monday
morning to receive several letters
asking for repetition of the 'Toc-
L cata" by Frescobaldi which we had
played at our initial Sunday concert
of the season. And I am naturally
delighted to play it again. 1t is for
that reason that we will start our
midweek concerts with this same
work which proved to be favorite at
the opening Sunday one.
Choral prelude, 20 Mensch bewein
dein Suende Gross" Bach-Reger
A MOTHER find seems to me to
be the wonderful choral prelude
to % Mensch bewein dein Suende
Gross" which was transcribed for
symphony orchestra by no one less
than Max Roger. Roger, himself, in
a footnote, calls this piece mag
nificent beyond all measure" and I
am more than inclined to agree with
him. 1t is one Of those magic per-
formances of Bach's which never fail
to arouse ones wonderment at the
inexhaustible supply of deepest-felt
inspiration. Comparatively recently
/ have looked over all, or nearly all,
Of Bach's chorals. and, besides their
purely musical value, be it said (for
the benefit of those who understand
German, the texts Of these chorals
are among the most moving poetry
that it has been my good fortune to
encounter.
Arias from 1.-THE Marriage Of
Figaro Mozart
The Frescobaldi and Bach will be
followed by two arias of Mozart's
from Figaro" which will be sung by
that unsurpassed exponent of bel
canto, Nine. Lucrezia Bori.
Symphony No. 81 in c Major" Haydn
THERE is no more charming music
in the entire literature than one Of
the better symphonies by this master.
Their combination Of inspiration, tech
nical perfection, contrast in moods,
superb string writing and sense Of
variety is hardly, if ever, surpassed by
another composer. And we have to call
upon the names of Beethoven, Brahms
or Mozart in order to find his equal or
his superior.
1t is all the more strange, therefore,
that number Of these symphonies Of
Haydn's are not known at ALL And to
find one which is as felicitous as this
one is one of the rewarding Joys Of q
musicians existence.
There is no necessity for an explana-
ton of this clear, limpid. lucid and
transparent music. But may I empha-
size that in listening to this music,
more than to any other, the auditor
should be predisposed to receive 1t with
all Of his attention. Musical perform
ance, in the final analysis, consists of
SO per cent receptivity. and more than
ever so in pure" music such as these
symphonies Of Haydn contain. In
other music, such as, for instance,
Tchaikowsky's, the "Eroica" of Bee
thoven, the Brahms &C Minor Sym
phony," the mood and the message
can be eventually imposed on even an
unwilling listener by the interpreter.
Not 50 in Haydn, and to q large ex-
tent Mozart. There the player needs
the entire sympathy of the listener in
advance in order to achieve q 100 per
cent result of mutual enjoyment.
En- Saga" Sibelius
A FTER the intermission we will play
Sibelius' EN- Saga" Where other
composers Of equal importance as ST.
belius mostly have . strongly defined
first, second and third period Of Gre
alton, Sibelius is one Of the excep-
tions, In that his early works seem
to be Of an unsusal "rishtuesa." En-