Evening star., 1948-10-20
By Alice Eversmon

The advent each season Of the
Philadelphia Orchestra for the
series of concerts it contributes to
Washington has always been spe-
cial occasion. Last night the vel
come given it and its conductor,
Eugene Ormandy, had more than
usual warmth, for only a short time
ago the announcement Of the can
collation. of all the concerts left the
season patrons aghast. So the pro-
longed applause that rose from
crowded Constitution Hall when Mr..
Ormandy appeared was one OF re-
ioicing at the settlement OF working
problems and the continuance OF
the concerts as well as homage.
The conductor, who has added To
his fame by a successful summer en-
gagement at the Hollywood Bowl,
brought as varied program as
could be desired for this opening
event. In some ways, 1t might have
seemed too varied for its contents
ranged widely in matters Of original
ity of style as we'll as OF artistic IN
tention. Yet all four composers pro-
grammed-Bach, Sibelius, Bartok
and Strauss-were individualists
and resembled each other only in
their common strength Of musical
expression.
The inclusion of the name of Bella
Bartok in this list had a special sig
niflcance since it was a commem-
Grafton of the third anniversary OF
his death which occurred on Sep
tember 26, 1945. Perhaps with the
wish to give a hearing to unknown
orchestral works by him, Mr.. Or
mandy chose the suite from the
mime-play THE Miraculous Man.
DARN" Bartok's writing was more
prolific in the field of the solo in
struments, chamber music ensembles
and voice than for the orchestra
The most outstanding of the latter
are fairly well known to the con-
cert public so that the opportunity
to hear one of his three efforts in
music for the theater increased an
acquaintance with his particular
style.
AS music, without a knowledge of
its program, the Suite" would have
been enigmatic. But taken in con-
nection with the sordid plot of the
pantomime for which 1t was written,
lit fulflls its intention with marked
power. It's design has no grace or
beauty nor is there any attempt at
emotional portrayal. The bald
counterpart of story that deals
with thugs, girl decoy, magfcally
protected Mandarin, robbery, bru-
tality and death, it is harsh, sin
lister and stormy The Bartok touch
is present but not as its best and
the impression is left of music writ
ten to order, for display, and from
a purely superficial approach. Ex-
cept that another facet of the Hun
garian composers gift was made
known, it is doubtful if the selection
of this work really honored his
memory.
The performance of Sibelius
Fifth Symphony" was something
else. Mr.. Ormandy's interpretive
plan showed personal analysis. He
eschewed the advantages offered for
tremendous effects at intervals
throughout the three movements in
favor of a slow building up that
made the great final climax as
"Triumphal" as the composer de-
sired. 1t is easy to find in Sibelius
music two pronounced extremes but
Mr.. Ormandy sought half tones that
piled one upon the other, at last
reached the complete release of the
glorious finale. The strings, in their
fluttering undertone, and the play
of the woodwinds in various COM
binations created a nebulous atmos-
phere through which comes more