Evening star., 1937-11-20

results can make Chicago proud We.
need but think Of John Alden Carpen-
ter, Leo Sowerby, Felix Borowski Eric
DeLamarter, Robert Sanders, David
Van Victor; Of the Thomas Orchestra
itself; OF Jacques Gordon, the violin
ist; Of Alfred Wallenstein; of it's
conServatories; Of its Ravinia Park
opera and concerts to see what these
activities can eventually amount to
and result in. Thus the soil for the
eventual seed of genius will become
fertile
To prepare this soil, to foster interest
and enthusiasm is a hard task. 1t
needs courage and persistence. The
tendencies on the part of the public
are not always those of hearted
welcome. The foreign product is often
received with more acclaim, for no
other reason than that it is foreign
Hence, 1 hope that for the concert of
this Sunday We may count at least on
the approval Of the tendency to give
the younger artists right in our midst
a hearing, since l think that both of
our Soloists are worthy of it.
THE first is Glen Carow, who will
play one of Mozarts lesser known.
but most charming works
The second one is Howard Mitchell,
first cellist Of the National Symphony
Orchestra, who will play the Sym
phonic Variations" by Boellmann, at
one time one of nearly every cellists
favorite war horses" The compost
ton is what the name implies. and is
in what would call an early Debussy
style.
The purely orchestral works will be:
First, Suite for Strings" by Purcell,
arranged by Albert Coates, in five
ovements-Rondeau. Slow Air, Air,
Minuet and Allegro quasi presto.
After the Mozart We will play Pas
Sacaglia and Fugue" by Young
Chicago composer-a modern, but not
hyper modern work of strong indi-
vldual aspect. And. for a finish. the
Waltzes from Der Rosenkavalier" by
Richard Strauss. Strauss himself,
after having finished this work, said:
L wanted 10 write work in a modern
Mozart style. l think l have sue
ceeded." Only time will tell. but
certainly the popularity of the
Rosenkavalier, and especially of these
WaltzeS, is by now worldwide and
indIsputable.
on Wednesday We will begin the
concert with one of Mozarts nu-
merouS and lesser-knoWn overtures
the Overture to "Cosi fan Tutte."
sparkling with animation 1t begins
and ends with a humorous quotation
from the opera: "Cosi fan Tutte"
CHATS the way women do it,.
The Vaughan Williams London"
Symphony is highly descriptive and
at the same time pure music" I
mean with this that although large
parts are quite definitely connected
with London scenery, with street cries
and local atmosphere, with the sounds
of the London hurdy-gurdy and the
tap Of policemens' sticks. and what
not, still the music, even without these
commentaries, remains intelligible in
and by itself.
For the information of the listener,
however, it may be interesting to
know that the introduction represents
daybreak by the river London still
asleep, the Thames flows calmly under
the heavy grey dawn. In the hushed
stiffness of early morning We hear
Big Ben" Abruptly the scene
changes. The turmoil of street life
and traffic starts-a gay picture. pulls
atlng with life. After a great climax.
the noise suddenly ceases, and We
seem to step into one of the little,
quiet, side streets-turning away from
the hustle of the city. shut off as if by
magic But before long We return to
1t. Every now and then a touch of
something fiercer penetrates, some
thing inexorable, which life in a great