Evening star., 1938-07-25
By ALICE EYERSMAN.

An audience which nearly filled the
seating capacity of the Water Gate
last evening gave generous acclaim to
the second guest conductor of the
National Symphony - Victor Kolar.
The enthusiasm OF the public was
shared by the members of the orches-
ira who climaxed q well-played pro-
gram by . spirited presentation of two
Of the conductors marches as encores.
MIR. Kolar, speaking few words of
appreciation Of his reception and the
work Of the National Symphony after
the final number, said that two extra
numbers had been sent with his music
and they might as we'll be played.
They were his March of the Titans"
and the Ford Victory March" COM
posed for his orchestra and played
during his long engagement at the
Century Of Progress Exposition in
Chicago.
After the intermission, the delayed
raising Of the new flag Of the National
Symphony took place with a Short
imposing ceremony. With the flood
lights lowered and a spotlight directed
on the American flag, the members of
the orchestra rose to their feet and
played THE Star Spangled Banner" I"
Immediately following, the nag, de-
signed by w. Kingsley Utteridge and
chosen from 80 submitted drawings.
was hoisted into place on the opposite
side OF the barge. It's brightly COL
ored design skilfully combines the idea
OF the Sunset Symphonies" and their
national character, and Is its vivid
hues caught the light it seemed to
stand as a symbol of the permanency
Of the summer orchestral concerts.
The flag-raising was postponed a week,
due to the bad weather.
Novel Program.
Mr.. Kolar had arranged q novel
program. nearly all of which was
heard here for the flrst time played
by the local orchestra. Prominent
among these were the orchestral ar
rangements Of Rachmaninon Pre-
lude in c sharp minor" and List IS
"Liebestraum." The real substance of
the program, however, lay in the
Mendelssohn overture to "Ruy Bias
and the Schumann Fourth Symphony,
the concert concluding with the Gag
liostro Waltz" by Johann Strauss, and
Tchaikowsky's "Capriccio Italien.'
The effective overture which Men
delssohn wrote to Victor Hugo Is
drama received q glowing interpreta-
ton at the hands Of Mr. Kolar, whose
understanding of orchestral nuance
is unusually keen. He gave sturdi-
ness to it by pronounced accentua ton
and drew forth the melodic themes 30
as TO bring out the full beauty Of the
instruments to which they were al
lotted.
The same care marked his reading
Of the Schumann symphony 4 gift OF
the composer to his wife on her BIRTH
day. While lacking much Of the
bravura Of some of the other favorite
symphonies, Schumann has given free
rein to his prediction for the spinning
OF melodic phrases and to the superb
how OF his inspiration. In fact, the
outstanding characteristic of this
Fourth Symphony, which the composer
instructed was to be played As in one
movement, Il the marvellous undulation
Of phrase contrived with simplicity and
lack Of ostentation yet fascinating In
its ease. He has departed from the
usual In giving greater prominence
to the wind instruments. assigning the
strings . less forceful part.
Audience Enthusiastic.
Mr.. Kolar kept the unpretentioul
character of the symphony intact
while deity bringing into relief the
many measures where the real beauty
OF the work reposes And here one
recognizes not 4 dramatist but q
singer and \ poet. The conductor of