Evening star., 1939-02-13
BY ELENA DE SAYN.

The Premiere of Paul Nordoff' S
concerto yesterday afternoon at
Constitution Hall was an occasion
upon which the ovation and recalls
which followed its presentation were
intended for the composer and the
pianist in an equal measure. Under
DR.. Hans Kindler's baton and with
the assistance of the National SYM
phony Orchestra, Paul Nordoff
reused his hearers by the superb
playing Of his work and also by his
creative talent which matched his
mastery of the keyboard.
This young composer plays with
the facility of a virtuoso for whom
technical difficulties do not exist.
He also possesses a vision which
dominates his thought, and a con-
vlction in ideas with power of trans
mission, which enhances the appre-
ciation of his work. His concerto in
three movements, although written
IN modern vein, has form, and the
repetition of the themes in each
movement makes the understanding
OF his music easy. It was only in the
f1rst part that greater volume in the
orchestration would have seemed
more satisfying at times. His main
theme, introduced by the piano and
later repeated by the strings,
sounded somewhat thin.
Surge Like Waves"
However, in the two movements
that followed, the composer achieved
effects, the richness and the sonor-
lty OF which were striking. In the
"Lento" especially, Mr.. Nordoff's S
harmonies, moving toward a mighty
climax, had majesty and uplifting
beauty. In this part he succeeded
IN achieving his aim, that of a
surge like the waves of the sea-"
The Allegro Motto" had piquancy
ana buoyancy and was given a
spirited performance In this COM
position Mr.. Nordof reflected a ma
ture richly endowed with talent of
which creation is an outlet and
technique only means to an end.
1t was with a glow of extreme
satisfaction that the composer
thanked DR.. Kinder for the splen-
did support the latter gave his
work. 1t was an unusually fine en-
semble, soloist and orchestra repre-
senting units merged into a great
whole.
When DR.. Kinder, contrary to his
usual procedure, walked backstage
after each OF the first two numbers,
the audience was eagerly awaiting
an explanation which came in his
statement that the absence of the
plccolo player necesSitated change
in the order of the program. Thus
the performance of the "Berceuse
and Finale" from Stravinsky's "Fire
Bird" was heard as the third num-
ber, leaving Tschaikowski's Fran
cesca da Rimini" for the last. Be-
sides, DR.. Kinder inserted "Schoen-
herr's Perpetual Motion" and De-
bussy's claire de Lune."
Program Of Symphony.
The program of the National
Symphony, besides the compositions
already mentioned, included Ber-
Ioz's overture "Carnaval Roman" 1"
and Purcell ll-Barbiroll's Suite" for
string orchestra, which had their
measure of success.
Among the numbers distinctive in
their presentation were the "Ber-
ceuse and Finale" from Stravinski's
THE Fire Bird" which, with its rich
modernistic coloring has great deal
of national flavor; Schoenherr's
clever paraphrase of Kreutzer's ia
miliar Study No. g." and Debussy's
clair de Lune," which the orches-
ira performed with delicacy and
lovely tone quality.
Tschaikowski's familiar and ever
romantic symphonic poem Fran
cesca da Rimini," written upon
q subject which inspired many q
composer, can be made very stirring