Evening star., 1939-01-12


alton of the symphony members,
who played with superb spirit, it
was a one-man affair so dominantly
did Mr.. Schelling make his many
sided musicianship felt.
In carrying away poignant re-
membrance Of "a Victory Ball" it
would seem to be the outstanding
feature of program, each number
of which, however, held a different
and unique appeal. When Mr..
Schelling gave his account of the
inspiration which brought about
this work he said, so few seemed
to remember what the war really
had meant" He need have no fear
now, for wherever "a Victory BALI
is played the sinister meaning of
war will strike home with chilling
clearness even to those who have
never experienced it.
He may have recourse to many
transparent musical effects to gain
this end but the fact remains that
here is drama with all its chiaro-
scuro of tragedy and gayety and its
intense emotionalism. Combining all
the material which "a Victory Ball"
represents in a smoothly joined
whole is a feat in itself, but Mr..
Schelling has done so with extra
ordinary skill He also has seen
orchestral possibilities with a clear
insight and made use OF them to
enhance this musical expression OF
what he calls his own sinister
vision" Still troubled by the world
catastrophe. he was given the in
centive to set it down IN muslc's
terms by reading Alfred Noyes'
poem. 1t has a message and speaks
1t boldly.
In proceeding backward through
the program, the next important
point was Mr.. Schelling's perform
ance and, at the same time, the
direction of his "Fantastic Suite, Op.
T." A pianist of brilliant endoW-
ment, he carried through his dou-
BILE duty, seated at the piano, with
tremendous effect. Calling on
many of the airs cherished by
Americans, ne has interviewer them
In a mastery work that is rife with
color Opening with an allegro in
martial rhythm, the mood is de-
lightfully and drastically changed
in the charming scherzo which fol-
lows.
Gifted with rare imagination and
revelling in rich melodic terms, he
has written a lovely Adagio which
leads into the charming Celebrations
that he has given to Dixie "Old
Folks at Home and Yankee
Doodle" in the finale. The pace
set by the pianist-conductor was
spirited one to which the Or
chestra responded wholeheartedly.
The orchestra and audience made
a ring of applause in the center Of
which Mr.. Schelling repeatedly
bowed his Acknowledgements.
While the concert concluded in a
stirring fashion, the three works
presented in the first half of the
program were finely done also. The
order of those compositions was
refreshing and little unusual, j. S.
Bach's prelude and Fugue in E
Flat Major" being preceded by a
work of his son, j. c. Bach's Sin
fonia in B Flat Major" which in
turn followed on the heels of
Critics THE Pleasure-Dome of
Kubla Khan" the opening number
on the program.
Critics musical counterpart of
Coleridges poem is richly hued with
Asiatic coloring, highly descriptive
in harmonization and mood. 1t
formed a vivid contrast to the.
engaging "Sinfornia." in which
Johann Christian Bach's solid musi-
cal foundation shines through the
lighter veneer with which he coated
it. 1t is a lovely work, fresh and
true. Frederick August Stocks
arrangement of Johann Sebastian
Bach's prelude and Fugue" has
many points, not common to the
general practice of transcribing
Bach's organ works for orchestra.
He has given greater power of ex-
preston to the brass and tympani,
thereby effectively reaching tre-
mendous sorority and volume.
The program was entertaining,
instructive and inspiring throughout