Evening star., 1948-01-07
Iturbi, Returning After Four
Years, Fills Constitution Hall

It may be that consideration for
this newly acquired following infiu-
enced his choice of program. It was
standardized not only as far as its
complete adherence to the old mas
tiers but also because each number
held an instantaneous appeal Of
melody and charm In most compre-
hendable form 1t would have been
|rewarding for those familiar already
with other artists, as well as Iturbi's
performance of these selections, to
find something new on the list. The
closest to contemporary item was
Manuel Infanta's "Sevillana," but
Iturbi has long been champion of
this composers works and "Sevil-
lana" cannot be classed as nov
city on an Iturbi program.
1t was beautiful playing through
out the evening. There are many
giants of the keyboard but few
poets. In this latter exclusive COM
pany, Iturbi ranks high as a pian-
ist of vision. He is a performer to
whom every note has a meaning
and who knows how to assemble
them so that the whole scheme Of
work is enhanced through the col
orful delineation of its parts. There
is always velvety quality to his
playing and at times dreamy inner
communion of rare purport. His
finger dexterity, amazingly facile
and airy, produces runs of pearly
clarity but can again draw thunder
from the piano.
Beethovens Moonlight Sonata, i"
so often indelicately treated, was a
mastery creation and preservation
of mood. Mr.. Iturbi has a sense OF
time as dividing agent and his
unhurried, well spaced delivery al
lowed the significance of each
phrase to sink in. These, too, were
exquisitely fashioned with inf1nites-
imal shadings. The same approach
was employed in Chopin's "Scherzo
in B fiat" so that all of its often un-
appreciated passion and sentiment
were visible. Even "Arabesque," e."
which Schumann devised prin-
cipally to please, was played from
an artists viewpoint. Strangely
enough, Chopin's "Polonaise in A
fiat" closing the programs first Sec
ton, was less scintillatingly and less
impressively delivered.
Superficially, and without con-
Sideration for the artistic minutiae
present in Mr.. Iturbi's delivery, the
opening numbers gave something OF
the impression of salon perform
ance. After the intermission, more
expansive spirit invaded the artists
playing with more brilliant results.
Although Tschaikowsky' "Dumka" !"
has a melancholy folk tune as
basis, the dashing interlude before
it's repetition has a sparkle and life
that made the return to the simple
melody dramatic. Again, in In
fanta's "Sevillana" and Debussy's
"Feux d'artifice," the special fluidity
of Iturbi's playing, as also his SEN
sitive understanding of its descrip-
tive powers as applied to these num-
bers, made them notable perform
ances.
Saint-Saens' less familiar allegro
appassionato" closing the program,
had enough bravura in it to keep
the audience in It's seats applauding
for encores. Only one was given
during the program when the artist
said he was honored by a request
for one of Chopin's waltzes In A
fiat major. This request probably
came from President Truman, who
with the presidential family, occu-
pied his box. The President as well
as most of the audience waited for
the additions to the recital list.