Evening star., 1946-11-25

leftover from his soldier training,
he Is distinguished figure on the
stage. His friendly response to the
reception and to the enthusiasm
following his playing Of the Sibelius
Concerto" with a wave OF the
hand to emphasize 1t, cemented the
impression his artistry had already
made.
He is an artist Of the genuine
kind, who combines his natural gifts
with intellectual perception Of an
advanced order. It Is his mental
concept of the music that gives it
an individual color and, joined as 1t
is with fine musical sensitiveness,
covers the interpretive approach
completely. There was this basic
understanding Of form and feeling
in his reading Of the Sibelius work.
Technically it was polished In the
refinement Of style and development
Of line in spite Of few slips In pas
sage work and an occasional blur
ring in some Of the tricky runs.
In many respects Sibelius has
written a grateful piece for the In
strument on which he himself hoped
at one time to excel. But, strange
ly, much of its most thrilling mo-
ments are given over to the lower
strings, and while this Is often fit
ting for the dark and somber mood
Of some Of the music, it Is difficult
to make, it's full beauty apparent
over the orchestra. Mr.. Spalding's
tone is lovely In It's purity and
sweetness, but 1t is not intensely
dramatic. There were times when
greater abandon and more release
Of fire would have sent the music
winging out with that llninhibNed
freedom characteristic Of Sibelius.
That was the main lack in the
performance by both soloist and or
chestra. The strong, dynamic con-
trasts were not sufficiently patent
nor the virile sweep OF the whole
The bristling difficulties in the tech
nical passages were overcome with
ease in all but few instances by
the violinist's sure and agile fingers
and bow and the singing quality OF
his tone was subtly employed in
the more poetic moments. The
work gives wonderful opportunities
for expressive defamation in the
many quiet passages and ample oc-
casion for virtuoso brilliancy. Yet
1t needs more robust setting forth
than was the case yesterday, when
It's brooding lyricism predominated
DR.. Hans Kinder designed a pro-
gram for the orchestra In which its
facility In richly tinted shadings
could have plentiful display. It's
forces were gathered together in a
sonorous presentation of the Pre-
lude to Act I" OF Wagner's "Die
Meistersinger" and bent to the un-
dulating infections OF the Sara
band" "Gigue" and ''Badinerie" OF
the Corelli Suite" 1t blazed again
with vivid cplors of Enesco's "Rou-
manian Rhapsody No. 2" and the
lovely changing hues Of the Stravin-
sky Fire Bird Suite"
This was a program Of picturesque
color scheme requiring versatility in
its accomplishment. The orchestra
rose to the occasion with spirit and
artistry giving one Of the finest per-
formances to its credit. The conduc-
tor knew he had given his audience
what pleased it greatly and his effort
was rewarded by unreserved ap-
plause.
Jane Carlson at National Gallery.
Another pianist, Jane Carlson,
Joined the ranks OF young artists
who have given the Sunday night
program in the National Gallery Of
Art. She has had already distinc-
tion not often accorded one so young
of appearing with the Chicago SYM
phony on a program OF Hindemith's
music with the composer conduct
ing. She included his Sonata No. q"
on her program last night and in 1t
did some Of the best playing OF the
evening.
Miss Carlson is thoroug hly