Evening star., 1950-03-20

was played for the first time by
the Symphony and perhaps, for
the first time locally. 1t is a very
pale affair to be sandwiched in
between Romeo and Juliet" and
the overture 1872" Taking some
theme of Mozart's for each of the
four movements, the composer
sought to indicate his almost
religious feeling toward Mozart.
Knowing of this reverence, one
would expect more of Tschai-
kowsky's rare art to be released.
The Mozart excerpts he chose are
not outstanding in the first place
but, with the exception of the
final Theme ct Variations,
there is an effort at stylization
that casts a certain restraint.
The third movement gives promi-
nence to the first violin of the
orchestra and Concertmaster Jan
Tomasow carried the long melody
against the background formed by
the other instruments.
The orchestra, however, gave a
splendid performance from begin
ming to end. In point of finesse of
execution, as we'll as program
planning, the Symphony No. S"
was the climax. Not only was it
polished in the way effect was
balanced by effect, but in the
tonal quality of each section. The
Romeo and Juliet" missed lit
tie of the heart touching mood in
the love scene, but when the great
clashes of sound required beauty
as we'll as power the orchestra
showed its solid worth. The "Over-
ture 1912" called it out also, and
Mr.. Mitchell succeeded in making
it's program convincing and thrill
ing. Every care was given to the
details in the Suite" and the en-
joyment of this number rested
principally in the fine playing the
orchestra did and in Mr.. Mitchell's
skill in leaving nothing untouched
that would contribute to the
artistry of his Interpretation.
The audience was large and ap-
preciative. At the close the con-
ductor was recalled several times
to receive, with his men, a real
ovation.
Program at National Gallery.
The Sunday night program in
the National Gallery of Art was
given by Evelyn SwarShout, pian-
ist, before a highly appreciative
audience. Miss Swarthout, who
has appeared with the National
Symphony and in recitals since
making her home in this area,
presented sonata program out
Of the ordinary. with two num-
bers having their first local per-
formance.
The two premieres consisted of
Dello Joio's Sonata No. 2" and
Bax' Sonata" of the same num-
ber. For such dissimilar works,
only pianist of Miss Swarthout's
sensitivity and insight could do
justice to them. Her complete
understanding presented them in
a most sympathetic manner. The
fantasy in the Dello Joio work is
Of delicate kind and requires
the tonal shading and the musical
nuances that Miss SwarthoutI
commands easily. There is a per-
suasive quality to its modernistic
style which stamps the composer
as one convinced of what he
wishes to say and skillful in ex-
pressing it. 1t has it's moments
Of weakness but on the whole is
original and rewarding.
The Bax Sonata" has more
substance and smoother writing.
There is plenty Of atmosphere in
it and warmth that handles the
folk-like strains, which permeate
it, with care. Both the sonatas
pose problems for the pianist in
mechanical sense which Miss
Swarthout's brilliant technique
met with great competence but
more so interpretively. The ability
to discover these is distinctive of
Miss Swarthout's talent.
The program listed also the
the seldom heard Sonata in e
fiat Major, op. 122" by Schubert,