Evening star. [volume] (Washington, D.C.) 1854-1972, 1949-01-17
By Alice Eversmon

Howard Mitchell directed the Ma
tional Symphony yesterday after
noon in Constitution Hall for the
first time since actually signing the
contract that makes him officially
DIR. Hans Kindlers successor as
head of the orchestra. The program
he selected was by no means con-
ventional one and the fact that he
planned it of unfamiliar works
promises we'll for the future and the
opportunities for musicians and
public to keep abreast of the times.
He shared the directing task with
Louis Potter, whose Washington
Choral Society was heard in Bee
thovens Choral Fantasy" and the
American premiere of Kurt Men
gelberg's "Missa pro pace"
The burden of the exposition OF
the Choral Fantasy" rests not with
the singers but with the piano solo,
list. Etelka Freund, who has appeared
here in recitalS, took over the piano
duties as her Constitution Hall
debut. This role on the last per-
Torrance locally of the Fantasy
some IL years ago was taken by
Harold Bauer. Nine. Freund's style,
one of poetic sensibility and bril-
liant technical finish, is patterned on
the grand" manner with power as
easily commanded as delicacy. She
played the gentle theme with song
full effect and crisp, Scintillatlng
discourse in improvizatlonal pas
sages. She was given warm re-
ception and recalled several times.
The Fantasy" is not one OF
Beethovens most distinctive works.
1t is loosely put together and shows
less inventiveness in its variations
although simple charm and bright
ness operates in the true Beethoven
manner. The many conversational
bits between piano and orchestra
were set forth with skillful shadings
as was the more important ensem-
bles. The chorus, entering for the
finale, had q tuneful assignment IN
the treatment of the song theme
which showed of the excellent bal
ance of the voices. More demands
were made on the singers in Mengel-
berg's "Missa pro pace" in which
solo portions were taken by Katha-
rine Hansel, soprano and Robert
Nicholson, baritone.
The text of the "Missa" follows
the prescribed ORDER of the service.
but its form does not adhere to that
established for the ritual. Several
of the sections given the baritone
were In the nature of a chant, the
"Credo' opening with long solo
in this order. Throughout the work.
echoes of Gounod, masses by Haydn
and others could be heard yet,
whether used intentionally or not,
the composer turns them lmmedl-
ately into his own style. Few OF
the occasions offered by the ritual
for expressive, beautiful passages
are utilized, the music in general
being cast in a more austere mold.
1t places great vocal demands on
the chorus which were met with
security In pitch and in execution.
Miss Hansel's most notable portion
was in the "Benedictus" where her
voice sustained something OF an OBJ
ligato above the chorus.
Both soloists gave finished per-
formances although Miss Hansel's
lighter vocal quality was no match
for the sorority of Mr.. Nicholson.
Mr.. Potter directed the orchestra
and the singers with authority,
bringing each into prominence with
we'll planned iIndulating effect. His
support of4.Mme. Freund in the
Choral Fantasy equally
finished.
The particular Concerto Crosse
by Handel. No. in G minor, chosen
by Mr.. Mitchell for the opening
number Is less well known but one
of the most charming Of the sew
eral by the composer. The orches-
trail line Is varied by short duets
and solos played yesterday by Jan
Tomasow and Elliot Siegel, violins,
and John Martin, cello. The entire
delivery was enriched by well sought
out Shadings that were effected with
great poise and f1exibility 1t was
in matters such as these that Mr.
Mitchell shows his individuality He
combines a strong feeling for the
music with the realization how to
reproduce it through the orchestra.
In doing so, he is most successful
in keeping the ensembles tone open,
if one might so express it, so that
its component parts are always
audible.
He achieved like results in Menot-
it's ballet suite, Sebastian" which
was given its first local hearing. 1t
proved to be a colorful and inter-
esting work yet the performance, for
all its fineSse, lacked dash and
protective power. The Venetian set
fino foy tho bal1af ctorv of tho nth