Evening star., 1949-05-02
Two Music Affairs
Make May DoyNotobIe Here

opening number was Beethoven's
Overture TO "Egmont.
Mr.. Walters reading of Beet
hoven had a rare quality to 1t
difficult to define. It was perme-
ated with a serenity that Is expe-
rienced when the consciousness
of the beauty of nature sinks
deeply into the soul. It did not
strive for tone pictures other than
those that resolved of themselves
nor did it seek for marked con-
trasts. even the storm of the third
movement being another mani
festation Of natures care without
malevolence.
There is humor in the Dvorak
work in the manner in which an
idea is announced with some
pompousness and then changed
into something unexpected. Lively
dance rhythms and folk-like mel
odies flow through it with that
particular flavor associated with
the composer. Only In the final
movement does 1t broaden in
scope with the trumpet calls to
conclude with a stirring climax.
In Mr.. Walters directing. not
only his respect for the ideas
of the composers but his ability
to put himself in tune with them
are distinguishing features. Both
of these elements are conveyed
to the listener through the trans
parency he maintains in the Or
chestra, by his restrained tempt
and by balance of instrumental
choirs. One hears a convincing
Beethoven and Dvorak and one
hears the musical responsiveness
of the conductor. The orchestra,
led by a violin section united in
tone quality and attacks. played
with the finish and the blending
for which it Is famous. At the
end. many in the audience rose
to their feet, the better to express
in their long continued applause
the admiration they felt for
scholarly and beauty loving con-
ductor.
Juilliard String Quartet.
Appropriate enough for an
American music festival, the first
program in the National Gallery
was taken over by the youthful
Juilliard String Quartet. The
works of the composers who are
gradually lifting the native crea-
tive ability to a high plane find
the greatest sympathizers in the
young musicians. This foursome,
Robert Mann and Robert Koff,
violins, Raphael Hillyer, viola and
Arthur Winograd. cellist, were
deeply absorbed in the music and
strove to give it out with the
fire and virility they found in it..
1t is questionable If this is the
right approach to the presentation
of modern music. Could it but be
viewed as are the classics and
played with the same quietude
and thoughtfulness. it would open
as a book before the public. It
must be said that, although of
exceptional competence technic-
ally and of a musically seeking
mind. the members of the Juil-
lard quartet are violent players.
BY the tenseness and the fury with
which they attack the difficulties
in such works as Schuman's
Quartet No. g." Harold Shapero's
Quartet No. /" and Piston's
Quartet No. /" they add to the
confusion of sound inherent in
these contemporary numbers.
Quite the loveliest bit of the
program was the Introduction"
of Schuman's Quartet. 1t is work
of imagination and feeling with
a true appreciation of the tonal
possibilities of the instruments.
Piston's quartet. more intellectu-
ally conceived and more detached
in consequence. is of finer con-
struction with its power lying in
its logic. Less impression was
made with Shapero's opus which
bears the stamp of too much
planning and too great an effort
at originality without the neces-
sary talent to hold the attention.
It was given its first local hearing.
The four young players have a
promising future before them for
which they are equipped already
to a special degree. They must
learn however, that, music, even
in its most rugged form. is a gentle