Evening star., 1937-11-13

Concerto in A Minor" MiD'N schumann hGsn
Moriz Rosenthal. soloist.
nntermission)
Prelude. Act III. "Virginia" Braine
sshsTaG sSsni pofoD.,,s ,SDSs 81" Ghopin
M9riz Rosenthal, soloist;.
Overture, THE Flying Dutchman"- Wagner
The first half of the program will be
in the romantic vein. The "Freischutz"
overture was the clarion call of the
romantic movement. The entire opera
WAS such definite break with tradi-
ton that it created q sensation. This
always happens when links with the
past are broken. But not always is
the innovation received as rapturously
as was Weber's master work. Within a
few weeks after its first performance
every one was whistling, singing and
humming the more popular melodies
from its score. 1t made triumphal
journey all over the German operate
stages. And from there it penetrated
to other countries, and specially to
Paris, where, under the name of
robin des Bois," it underwent a
Transformation according to the Paris
tastes Of the day-a transformation
which, from all we hear about it. espe-
cially in Berlioz's reports, made the
work popular with the crowds, but did
1t no good from an artistic standpoint.
To this day the overture astonishes
us by the wealth of its color, especially
when we remember that Weber did
not use any of the numerous extra"
instruments which since his day have
been included in the present-day SYM
phony orchestra. This colorfulness
and its influence on other composers,
especially Wagner, gives us the right
to call Weber the Delacroix of music.
Vivid descriptive effects were also in
troduced by him in music, and in this
overture we find ominous pizzicato
notes in the BASES, dramatic tremo-
lando and crescendos in the strings,
surging scales and weighty accents in
contrast to the lovely second theme
for the clarinet, which in the coda re-
enters full force and gives the end of
bAAAo ONSA tS2 q otCN1d3iJ AdPbbt4 OAo
quality.
Concerto in A Minor for Piano and
Orchestra" "-Sc Schumann
THE Schumann concerto until the
arrival of the Brahms works in
the same form was probably the most
beloved work for piano and orchestra
This is easily understood, because OF
its many and various facets.
In the first movement, which was
originally an allegdo de concert which
Schumann had written for his beloved
Clara and which was considered COM
plete in itself, there is decision and
contrasting tenderness, with the en-
suing struggle between both. a glorious
cadenza, and an exciting finish. There
is humor and wistful quality in the
second movement, which is followed
by one of the most delicious and mov-
ing phrases in the cellos, accompanied
by graceful arpeggios in the piano. ]
would like to draw special attention
to the beautiful and mastery way in
which Schumann anticipates the tri-
umphant main theme of the last move
ment shortly before it actually en-
ters. While he is still lingering on
the mood of the preceding movement
the woodwinds softly announce thi;
coming theme, first in major, ther
in minor, and then again in major, un.
til it seems to emerge at last, and def
nitely, from its shell. The last move
ment is in typical concerto style, anc
gives the pianist once more magnifi.
cent opportunity to display all hi.
| wares.
Moriz Rosenthal seems to me to be 6
peculiarly apt exponent for this par.
ticular work. He. one of the last re,
manning pupils Of Liszt and a giant O