Evening star., 1940-04-15

f1nesse and deeper feeling than ever
before.
The novelty Of the program was
Brahms Song Of Fate" choral
work in which the Washington
Choral Society appeared with the
symphony in response to many re-
quests for a choral number. Brahms
found his inspiration in a poem by
Friedrich Hoelderlin and gave rein
to his fantasy to such an extent
that the compositions chief charm
lies in the orchestration. The pre-
lude and epilogue are choice bits Of
Brahms writing, tender and ethereal
yet warmly human at the same time.
The two contrasting moods Of the
poem, the first serene and the Sec
ond stormy, are depicted by the
vocal score, the higher voices Great
ing the spiritual quality of the first
mood and the full chorus rising to
a passionate defamation in the Sec
ond. The members of the choral So
ciety sang with well-blended tone
and clear-cut delivery, the voices
carrying sonorously above the Or
chestra.
A colorful performance Of the
Strauss waltz, Tales From the
Vienna Woods" preceded the Sibel-
ius symphony, the announcement Of
which was received with quick ap-
plause. In DR.. Kindler's reading
there was ample recompense for the
numbers that were not played, for
he reached height of inspiration
In the manner in which he built up
to the final climax and the nobility
and depth of sentiment he infused
into each movement. A storm OF
applause expressing both apprecia-
ton Of the Interpretation of the
symphony and of DR.. Kindler's long
service for music broke forth at
the conclusion and continued to
overwhelm the conductor at each
OF his many reappearances.
| X X
Festival Comes to Close.
The festival of chamber music at
the Library of Congress under the
Elizabeth Sprague Coolidge Foun-
dation came to a close last eve
ming with program of works for
wind instruments. strings and piano
The climax of this series may be
said to have been the performance
of the Schubert Octet Op. 166" for
clarinet, horn. bassoon, two violins
viola. cello and double bass, which
was the final work programmed at
last nights concert.
Played by the Kolish Quartet with
Eric Simon, clarinet: Leonard Shar-
row, bassoon; Wendell Hoss, horn
and Anthony Zentrick, double bass
it was performance of deep senti-
ment and superb ensemble. Tht
combination of instruments was
especially beautiful, their tones
blending imperceptibly and caress-
ing the ear with the richness of theil
quality. Most prominence was given
the clarinet while 4 special colo,
was injected by the soft tone of the
horn. Schubert, a master at vari-
ations, gave vent to his skill in the
Andante, writing series Of exquisite
variations Of rare melodic beauty
The efortless playing of this group
Of artists. the variety and distinc-
ton Of their shadings and the uni
formity of their intent were of SUI
perior order and their reading o.
this exquisite work one Of excep-
tional artistry. The enthusiasm OF
the crowded hall was boundless
After the artists had returned many
times, Rudolf Kolisch, who had
dominated the reading with his rich
violin tone and depth OF sentiment
came down from the stage to kiss
the hand of Mrs. Coolidge and with
one accord the audience rose to ap-
plaud the famous donor of these
concerts.
The entire program was unusual
both as to compositions and the in
struments used. -Four "Divertimenti
for Flute, Oboe. Clarinet and Bas-
soon," by Frank Bridge, were per.
formed for the first time, while
Arnold Bax's "Octet for Horn, Two
Violins. Two Violas, Cello, Double
Bass and Piano" was given its first
hearing in this country. The open
ing number was Purcell's "Sonats
No. In B Minor" for two violins
cello and piano.
In his divertimenti Mr.. Bridge has
most cleverly Joined the woodwinds
in either quartet or duet form.
IJiob1v q y,,,,civ,o MO tho 0Coh await y
for clarinet and bassoon, where the
interchange of jesting set the pc
culiarities of tonal color one against
the other. "Nocturne" for flute and
oboe was lovely bit, the two voices
balancing each other to create q
mood of GOODNESS and detachment
The two quartet numbers were in
teresting illustrations of the range
of color when used in ensemble and
the expressiveness of tone when used
in this combination. The artists in
this work were Eric Simon, clari-
net; John Wummer, flute; Mitchell
Miller, oboe, and Leonard Sharrow,
bassoon.
Bax's "Octet" in two movements
is richly melodic work that brings
together in beautiful harmony an
other unusual union of instru-
ments. Played by Wendell Hoss,
horn; Rudolf Kolisch and Felix
Khuner, violins; Jascha Veissi and
William Primrose, violas; Stefan
Auber, cello; Anthony Zentrick,
double bass, with Harriet Cohen at
the piano, it is as suavely blending
of tone as the ordinary string en-
semble. The two movements are of
different style, the first being on the
order of nocturne and the second
gay and vivacious. It is beautifully
constructed, smooth and flowing in
line. The horn introduces the mel
ody of the Motto Moderate, which
is later interviewer in superb FASH
ion between the different instru-
ments, the quality of the piano and
strings being pronouncedly uni
form.
The excellence Of the program
was at once established by the play