Evening star., 1943-12-01
BY ALICE EVERSMAN.

Rudolf Serkin, appearing as solo,
list with the Philadelphia Orchestra
last night at Constitution Hall, gave
one of the most memorable per-
formances in Beethoven's Concerto
No. /" that has been heard in re-
cent years. The concerto is SO sell
dom popular with artists of the key
board that the opportunity to hear
it played with the vision that Serkin
brought to it was welcome one.
The soloist's notable presentation
was but one of several which Eugene
Ormandy had programmed for the
second visit of the orchestra and
which, varied in character as they
were, received the highest acclaim
from the usual capacity audience
that assemblies for the Philadel-
phians' concerts.
The strength that lies in Serkin's
hands and his intensely dramatic
and fiery temperament can make
the piano thunder in magnificent
sound. Beethoven's first concerto
tested the opposite extreme of his
pianistic resources and the manner
in which he succeeded was a revela-
ton of the extraordinary extent and
depth of his talent and musical un
derstanding This simple work Of
the composers earlier period re-
uuires greater perception than many
others designed to display the in
terpreter's proWess. All the elements
of refined taste and the subtlest use
of an elastic technique constantly
are called on and can only be sup
piled by consummate artist.
This Mr.. Serkin proved himself to
be if such proof were needed. The
sensitiveness of his touch resulted
in bell-like singing tone further
beautified by the exceptional clean
ness of his technique. In matters of
phrasing, accent and dynamics the
result was exquisitely delicate, each
measure being a gem OF artistic
structure. The Mozartian favor of
the work from the sparkling and
vivacious first movement through the
thoughtful Largo to the gay finale
was realized with unmitigated skill.
The elaborate cadcnza of the first
movement. more in the later Bee
thoven style, gave Mr.. Ser,lin the
chance to unleash Somewhat, his
tonal power and communicative fire
stirring the audience to wild ap-
plause in which the members of the
orchestra mingled their genuinely
enthusiastic Braves" The entire
performance was a triumph for the
artist.
Mr. Ormandy's nobly proportioned
reading of the Overture to Gluck S
''Iphigenie en- Aulide" as opening
number of the program once more
demonstrated the eloquent tone OF
the orchestra and its aesthetic feel
ing. But put before it a work such
as Strauss tone poem Don Juan
and there is released gorgeousness
of sound and dramatic intensity
that appear ine:;haustihle. Mr.. Or
manov's ability to regulate the Ge-
scriptive powers Of the orchestra
made the presentation CT the Strauss
poem highly colo-ful and kept the
outline of the story clear in the
midst of the rich harmonies.
The first performance in concert
form of Hermann's suite THE Devil
and Daniel Webster" was the novelty
of the program and disclosed a
composer of keen sensibilities and
a gift for expression at once clever
and profound. First written as in
cidental music for Benet's story as
produced by the Columbia Work
shop, later re-arranged as the score
of the motion picture, winning the
composer the Motion Picture Acad-
emy Award, and finally turned into
an orchestral suite, it is interesting
not only for its skilled workman
ship but for the thoroughly Ameri-
can quality that per.neatcs it and