Evening star., 1947-03-05

The Philadelphia Orchestra gave
a magnificent performance last
night OF program that was just
about as eclectic as one could desire
Eugene Ormandy keeps abreast o
the times and has the courage Il
present new works while not for.
getting those OF the older and more
| favored composer. The Constitution
Hall concert included the hearing
OF Paul Creston's latest SYMPHONY
No. 2" and Prokofieff's Concerto
No. g." played by the redoubtable
young pianist, William Kapell. A
normal boundary was provided
these two works Of contemporary
style by the lovely Brahms "Varia-
tions on a Theme of Haydn" and
the brilliant Suite" from Stravin-
sky's more youthful composition,
''The Fire Bird"
The music of the Prokofief con-
certo was almost obscured, if one
could make such a contradictory
statement, by the breath-taking
digital virtuosity Of Mr.. xapell. For
the amazing fieetness combined
with security, the breadth and au-
thority Of his playing was invested
with an elan that was sufficient in
itself to create excitement. It was
pianism of a superb kind that
brought the young artist such a
storm of applause that he came out
time and again In response to its
insistence.
Audacity and a steely glitter are
almost consistent characteristics of
the Concerto, although there are
moments when this sophisticated
curtain is drawn aside and a glimpse
is had OF the more genial Prokoheff.
But 1t was the ostentatious facade
that brought out the remarkable
abilities of the sololist for fiery,
ebulient playing Of the stupendous
technical demands with which the
work abounds. These are tossed
back and forth between the solo
instrument and the orchestra with
terrific speed and intricacy that at
times, as in the Allegro of the first
movement, is of barbaric splendor.
From out of this turbulence there
emerges such lyric passages as that
played by. the cellos In the nnal
movement, where q song some
what resembling a spiritual is
heard. Other opportunities Of this
kind are to be found in the varia-
tions of the second section, but Mr..
Kapell is still too much the tech
nical virtuoso to have the feeling
for their expressive possibilities.
The brittle music of the Concerto
adds up to massive sound which
both orchestra and soloists gloried
in, and it was the superb and scin-
tillating performance of both that
captured the audience more than
the appeal of the work itself.
The Symphony No. 2" by Cres-
ton was another matter. In the
modern vein Of its construction
there was clarity and a appreciable
intention. That the composer plan
ned 1t as IAN apotheosis Of the two
foundation of music-song and
dance" is but signifying its basis
for from this point on there is re-
vealed not only an imaginative tai
ent but one with an original musi-
cal language at his command. The
serious mood Of the opening mea-
sures Is by way of introduction for
the song motif is taken up immedi-
ately by. the flute and dispersed
through tfle other instruments Of
the oirhestra - -
IN the trea tznent Of the melodic
themes there Is fine sensibility that
forms 4 striking antithesis to the
character Of the second portion.
The composer Is somewhat OF an
authority on the dance as he has
written several articles on that sub
ject for magazines. It Is the highly
rhythmic and Jazz tinged type that
permeates the latter part Of his