The Washington times., 1937-03-18
By CARL L. BEMIES


TschaikowSky.
The seasons high in attendance
and enthusiasm was registered last
night in the presentation of a con-
cert of modern music by the COM
bined Paul Whiteman Orchestra
and National Symphony Orches-
ira, aided and abetted by Casper
Reardon, swing harpist, and the
vocal quartet known as the Kings
Men.
Although the printed programs
contained voluminous and humor-
Gus notes by the eminent Amer
ican composer and critic, Deems
Taylor, he was present in person.
to supplement the notes with fur
ther comments. In explaining his
presence, Mr.. Taylor said that he
deemed it advisable to give oral
notes to prevent the symphony
audience from following the usual
habit of reading the program notes
while the orchestra was playing
and that it was quite necessary
AL U1I. w 4llUCLloLl aNkI4NAASS SN0
they could not read.
Mr.. Taylor pointed out that
whereas the Philadelphia SYM
phony Orchestra had worn the
conventional full evening dress,
the management insisted upon
Whiteman's men wearing white
coats and black ties so that there
would be no mistaking the two
groups; but last night both the
National Symphony and tn e
Whiteman Orchestra players were
dressed alike and the only way for
the audience to tell them apart
was in their playing. CAS- a mat
ter of fact, Mr.. Taylor evidently
failed to note that the Whiteman
group wore tuXedoS).
AS if to lead the audience by
easy stages up to the heights of
modern music, Mr.. Whiteman
opened the concert with a rhyth,
mic composition based upon a
theme from Bach's Preludes and
Fuges. Thank You, Mr.. Bach" 3"
Van Phillips) and an elaboration
of a theme from Rossinis famous
overture, William Tell Q937
ModeD," (Rossini-Berry).
The Essay on Waltzes," ar
ranged by Mr.. Whiteman's regular
arranger, Adolph Deutsch, brought
out a number of old favorites such
as "Minuet in G." Blue Danube, !"
Minute Waltz" "The Good Old
Summertime" Sidewalks of New
York, Three O'Clock in the, Morn
ing" Merry Widow" and my
Hero" When the Summertime"
tune was played in the style of
hurdy-gurdy, Mike Pigatore. Gull
tarist, held out cup for contribu-
tionS and Whiteman solemnly
dropped several coins with loud
clinkS.
1t was most fitting that on st.
Patrick's Day a harp solo should
be included in the program, buC
we are certain that no Irish harp
ist ever produced such effects from
a harp as were heard when Casper
Reardon gave his own version of
the "St. Louis Blues" When one
realizes that there are no black
keys on the harp and that the
scales are all in the major keys, it
becomes necessary for a performer
to make frequent shifts with the
foot pedals in playing the minor
blues" music.
When magician wishes to pull
a fast one. he directs the attention
OF his audience from the business
at hand while he performs the
trick; but Deems Taylor, in intro
ducing the combination of tone
poem, dramatic aria and recita-
ton, "All Points West" (Rodgers
and Hart), asked the audience not
to read the words while Bob
Lawrence sang, and of course they
Immediately proceeded to do so.
If Bob Lawrence had used the
typical train announcer's diction,
Mr.. Taylor would have been juSti-
fled in his implication; but Bob
sang the words so clearly and
with such expression that all
could understand without effort
the entire work.
Adolph Deutsch is principally
known for his jazz or swing ar.
rangements, but another and
more serious side of his nature
was shown last night in the su-
perb Scottish Suite" There is
a savage surge of tone color
that has caught the conquering
spirit of the Highlander. 1t
was feared for time that the
Scottish bagpipers had gone to
New York to help celebrate st.
Patrick's Day, but they marched
on to the stage in full regalia