Evening star., 1945-10-29
National Symphony's Session
Opens With Enthusiasm

/ full melodies have come to me In
dreams" and cited this concerto as
an example. The melodic pattern,
as Milstein played it, held some
thing of dream like substance
brought to earth with the feet and
vigorous defamation OF the Finale.
The violinist's technique Is so secure
and easy that 1t Is almost nom
chala1t. but contributes by its very
ease the sparkle and fire to round
out . grateful work. His personal
abandon to the appeal of the music
gave 1t special protective power as
stimulating as the intellectual pleas
ure OF his musical analysis. The
one number was too short for the
deeply appreciatiye audience that
recalled him again and again in the
hope OF hearing more. Insisting
that DR.. Kinder, who completed
Mr.. Milstein's performance with the
sensitive effects he created in the
orchestral accompaniment, share
the ovation, the artist made it
known there would be no encores.
The program selected for the or
chestra was climaxed by DR.. Kin
dler's transcription of the popular
"Polonaise, op. So" by Chopin. This
is the second piano work the con-
ductor has arranged for orchestra
and again his vision OF the re-
sources of the larger instrument
Is successfully justified. The work
gains in breadth and color, all of
which was brought out in his skilled
conducting. If some of the sharp
brilliancy of the piano is not du-
plicated In the violins, the other
sections of the orchestra supply
richer hues and deeper sorority
that the original instrument can
meet in only partial fashion.
A first performance In this city
was given to Franz Bornscheins
Moon Over Taos" another beau
tiful tone picture the composer
creates with such rare skill. Mr..
Bornschein, who was present, sees
with an artists eye the accumula-
ton OF intangible details that give
atmosphere and poetry to a subject
and his appraisal of their values
and relationship is extraordinarily
sensitive. Moon Over Taos" is an
exquisite work, whose filigree lis
delicately carved. Its evanescent
quality Is touched with q Simmer
and glow Of ardent feeling expressed
IN the string tone and the marked
rhythm that gives background to
the lonely song of the flute. It
found instant favor with the audi
ence.
The rehearing of Kabalevsky's
symphony No. g." which DR.. Kind
ler introduced to the local public in
January OF last year and PLAYED
again In March, confirms the i'm
preston OF a Soviet composer whose
creative gift is better balanced and
more malleable than others of re-
nown. In many respects, it follows
the pattern now familiar as express
sive OF musical thought in the Soviet
Union with an additional personal
inspiration such as directs the music
Of Prokofieff.
The rest of the world learned of
the Russian of another regime
through Tschaikowsky, Rimsky-
Korsakon and Moussorgsky and can
learn Of the present day thought
and ideals through the contemporary
composers. Where the older genera
ton drew on fancy, folk. and fairy
tale and their own rich emotional
reactions, those born in the more
realistic atmosphere of today have
little of fantasy and romance but
are concerned with hard facts. From
this comes music austere, in a meas
ure, violently insistant. determined
and forcetul. Kabaleysky tempers
this with poetic moments that are
Eltkc windows opened on a lovely
Landscape and which could serve ia
JOIN the colorful opulence of the past
with the less colorful present.
The program, excellently played