Evening star., 1940-01-22
DR.. Kinder
Scores New
Triumph
Symphony Program
Includes Several
Familiar Numbers
ByELENA de SAYN.

Another concert of the Beloved
Masterpieces series" presented yes
terday afternoon at Constitution
Hall by the National Symphony
Orchestra, DR.. Hans Kinder, con-
Quoting, gave occasion for repeated
performance of several familiar
numbers in the repertoire OF the
orchestra: Gluck's> Overture to
Iphigenia in Aulis," Bach's Brand
enburg Concerto No. in G Major"
Tschaikowskys Waltz of the
Flowers" from the "Nutcracker
Suite" and Rimsky-Korsakov's SYM
phonic suite "Scheherazade."
Judging by the ovation given DR..
Kinder after the Waltz" with in
sistent demands for its repetition,
and the many recalls after "Sche-
herazade," the two last numbers
pleased the audience most. After
this Oriental suite there were also
several acknowledgements of ap-
plause by the concertmaster, Millard
Taylor, whose violin passages, high
and pure, lent distinction to the
performance: by Sylvia Meyer, whose
brilliant introduction on the harp
set a standard of excellence, and by
the orchestra in its entirety, its
members having contributed to the
afternoon individual solo passages.
Knowing that Rimsky-Korsakoff
was navy man, it is not surprising
that out of the many Arabian
Nights" those episodes connected
with the sea appealed to him most.
In his orchestral colors are mirrored
the azure waters of the South, the
Oriental types one meets in market
places, their persistent cries adver-
tising their goods. One is also con-
scious of the measured rhythms Of
the Oriental dancing to the accom-
paniment of a drum effect, of the
lovely Sultana Scheherazade, whose
narrative is identified with the solo
passages of the violin, and the wild
leaps of the waves which finally hurl
the ship to its obstruction. THE
Sea and Sinbad's Vessel" "The Story
of the Prince Kalender," THE
Young Prince and the Young Primo
ess" and Feast in Bagdad," possibly
witnessed by the composer during
his travels, were among the most
effective, as played by the orchestra
yesterday The score of "Sche-
herazade" offers many moments for
individual virtuosity, that Of the con-
ductor inclusive, who has to WELD
the different elements into COM
prehensive whole in which DR..
Kinder succeeded to the entire
satisfaction of his auditors.
The revised edition of Gluck's
overture for concert use by Richard
Wagner was the opening number on
the program, describing the dramatic
motives of the opera, those OF appeal,
power, grace and pity. Gluck was
the first composer of his time to seek
and to attain simplicity in his ope-
ratio style, heretofore ornate and
overburdened by often meaningless
or inadequate embellishments. The
contrasting elements of the overture,
however, lend themselves to more
forceful expression than the one
given it yesterday afternoon.
The same can be said of the per-
formance of the orchestral version
of Bach's aria from his ID Major
Suite" inserted into the Branden-
burg Concerto, made famous as a
violin solo. This number calls for
a wide range of dynamics, beginning
with a sensitive piano pianissimo,
which was not attained by the Or
chestra yesterday. There were also
occasional slips in high notes in the
violins and lack of clarity and pre-
cision in some entries of the last
movement of the concerto which DR..
Kinkler repeated with better effect.
The various sections of the orchestra,
such as brass, woodwind, strings and
harp, distinguished themselves in
their excellent reading of Tschaikow-
sky's "Nutcracker Suite" waltz.