Evening star., 1950-11-16
By Alice Eversmon

When Zinc Francescatti aban-
dons the heavier violin concertos
or those of purely virtuoso char
acter for one of more romantic
style, he illustrates further his
exceptional musical talent. Last
night. with the National Sym
phony in Constitution Hall, he
played the Saint-Saens Concerto
No. 3 in B Minor" and played
it with the utmost mastery. His
performance was part Of the in.
teresting program Howard Mitch
ell arranged. It began with Vir-
gil Thomson's 1.-THE Louisiana
Story" and concluded with Dvo-
rak's Symphony No. 4 in G Ma
jor."
Today's virtuosi of the violin
have attained so high standard
that it seems impossible that more
could be done. BY virtue of his
individuality, Mr.. Francescatti is
able to prove that all has not yet
been exhausted in any realm of
violin playing. He brings new
approach that is rapidly forging
him ahead of his competitors and
it may well be that he will set a
new style. For he has taken the
violin out of the brilliant, rather
superficial atmosphere, where 1t
has dazzled by feats of execution
and put it into its original sing
ing role.
His remarkable technique, swift,
brilliant and impeccable, is not
on the surface but solidly ground
ed in the tone of the instrument.
And he has a beautiful, soulful
tone. But he warns all these
essential elements with his virile,
enthusiastic temperament and
polishes them with the unerring
guidance of his musicianship.
Saint-Saens' melody-f filled con-
certo glowed under his fingers.
Its dazzling technical passages, so
knowingly written for virtuoso
display. rippled rapidly and clean
| ly. 1t was a ull-dimensioned per-
formance. yet the clearest impress
sion was the musical direction
that subordinated the tempting
appeal to higher aim.
Perhaps because of his own
flaming energy or through the
logic Of his musicianship, Mr..
Francescatti is not inclined to
loiter when a melody might justly
permit him to do so. The lyricism
of the Andantino quasi allegretto
offered the interlude where ro-
manticism could be utilized. The
artists quick tempo left no time
for emotional rounding out, al
though his lovely tone was in it
self a compensation The OPEN
ing and closing movements moved
spiritedly and the elan of his
playing was exciting. It was re-
warded by an ovation from the
entranced audience that continued
long enough to include the con-
ductor and the orchestra musi-
clans.
Both Mr.. Mitchell and his men
deserved the share they had in
Francescatti's success. The play
ing was exceptionally fine and Mr..
Mitchell discovered in a particular
way the beauty of the composer
put into the orchestral score.
Throughout the program, the
same high order of performance
prevailed. Thomson's score gained
on second hearing-the Phila-
delphians gave it f1rst-and the
value of the writing was revealed
through the well-planned delivery.
It has atmosphere and descriptive
powers, voiced in an original way
and with keen understanding of
the orchestral qualities.
Dvorak's Symphony No. 4" is
a welcome addition to the Orches-
tra's repertoire and should soon
equal the popular From the New
World" Symphony in public favor.
Folk tunes and dances are its
basis, handled with the loving
care Dvorak knew how to use so
as not to disturb their intrinsic
charm. It must have a sympa-
thtic interpreter and Mr.. Mitchell
was one, welding the melodies to-
gether with fine effects. All told.
because of the aliveness and fin
ish of the performances of both
Mr.. Francescatti and the Orches-
fra and the nleaSinp nature of