Evening star., 1945-01-12
By ALICE EvERsMAN,

Inc return OF the Boston SYM
phony after long absence for a
major concert in Constitution Hall
and the remarkable playing of the
group under Serge Koussevitskys
direction brought forth a demon
stration of such magnitude as has
not been heard here before. The
ovation given the conductor and his
men at the beginning of the pro-
gram mounted in strength to
frenzy of applause and cheers at
the end. Listening in rapt pleas
ure, the audience, which packed the
auditorium to the limit, broke the
spell at the conclusion of each num-
ber with its spontaneous enthu-
siasm.
The program held nothing new or
unfamiliar and, at first glance, no
special interest. But hearing it in
terpreted from DR.. Koussevitsky'
artistic insight was new and en-
riching experience. 1t was a study
in analytical precision, in scholarly
research, in musical sensitiveneSs
and in rich and protective senti-
ment. With Haydn's symphony in G
Major, No. 88";; Debussy's Prelude
a rApres-midi dun Faun," Ravels
'"Daphnis ct Chloe" and Shostako-
vich's Fifth Symphony" there was
every opportunity to reveal the spe-
cial style and the sure musicianship
of the conductor to the fullest.
DR.. Koussevitsky'S conception of
the orchestra as an interpretive
medium is in itself unique. Under
his direction it is an ensemble only
at intervals, the Importance of its
component parts being supreme. 1t
is as though the massed tone is laid
wide open SO that each of its struc-
tural factors becomes the more au-
dible. They are drawn to the fore
ground to the complete expression
of their individual phrase with the
next voice carrying on and COM
plementing with its tonal color what
preceded. In unison, the volume is
rich and vibrant, but again, tone
that has many infections but no
domination of one section over the
other.
The conductors appreciation of
the time element is also individual.
There is no feeling of hurry at any
time but a great respect for the
proper fulfillment of a measure.
Slowly but with infinite repose, a
phrase is unfolded, the tempo quick
ened slightly and allowed to fall
back for another careful develop
ment. The result Is magnificent
play of light and shade as we'll as
a complete revelation of the pattern
of the music.
The climax was reached in the
Shostakovich symphony, which has
rarely had so sensitive a reading.
1t acquired loftiness and poetry
that banished it's disharmony,
brought clarity out of confusion and
dignity to its rather blatant exte-
rior. Its dimensions were enlarged
and its sincerity made more obvious.
The members of the orchestra bent
all their artistry to as fine delinea-
ton of the work as could be desired
and the result was not only per-
suasive but electrifying.
Ravel's second suite, arranged
from his ballet, "Daphnis ct Chloe"
offered another instance of the plas-
ITCHY of the orchestra and the vision
of the conductor. Not only was 1t
creation of mystical beauty as in
the opening section, Lever du jour" 3"
but blossoming of passionate feel
ing that gathered the power of the
orchestra for magnificent tonal ef-
fects. The building up of its struc-
ture was made through range of
dynamics that were achieved with
minutest care.
Contrast was given these numbers