Evening star., 1950-03-09
By Alice Eversmon

The Wednesday series of the
National Symphony Orchestra
closed last night with program
in Constitution Hall directed by
Dimitri Mitropoulos as guest con-
ductor. The concert was one OF
revelation. 1t made known a con-
ductor of extraordinary power, a
type of playing that is rarely
presented by any orchestra, and a
quality among the musicians of
the National Symphony that
showed undreamed-of possibil-
tiles. The audience was not overly
large. for all the interest the pro-
gram promised, but it recognized
the special character of the per-
formance with the most enthusi-
astic applause.
Mr.. Mitropoulos' Capital debut
crowned the evening series. He is
a conductor of originality and at
times seemed more of magician.
Often he did not bother to indi-
cate the tempo with his hands,
relying on faint movement of
the head to keep things going. At
other times his widespread, flex-
ible fingers were as active in
motion as an conjurer's and ap-
peared literally to draw the de-
sired effects from the instruments
and their players. 1t was a
minimum of effort, yet potent in
results.
The fact that Mr.. Mitropoulos
had very definite ideas as to the
sound and the effect of each
phrase was demonstrated con-
tinually. He produced marvels of
nuance in the orchestral tone,
viewing it more in its compact
form rather than a contrast of
one section to another. Contrasts
were there, yet they seemed more
imbedded in the ensemble in a
way seldom sought by conduc-
tors. Mozart's Symphony No. 80
in E fiat Major" offered him every
opportunity for the super-f1ne de-
lineation of which he is master.
Perhaps a certain pedantry crept
in, more observable in the even
ness of mood in which each move
ment was set, and holding back
Of the forwardness of Mozart's
music, but every measure delighted
all music lovers with it's beautiful
construction and coloring.
It was in the relatively simple
Mozart numbers-the symphony
and the Overture to 1.-THE Magic
Flute"-that the orchestra musi-
clans showed their mettle. To
Undue this music with such a
wealth of effect is supreme test
The violin section outdid itself
The tone was crystal clear and
concentrated and the playing was
unusually clean-cut. The other
choirs were as responsive to the
sudden and definite coloring ex-
acted from them so that, as a
body. they played in a superlative
manner. The fnesse in both feel
ing and execution gave an entirely
new character to their work.
The first performance of
Mahler's Symphony No. /" here
closed the program. At first
hearing, it is an engrossing work
Whether this opinion would last on
closer acquaintance, is in doubt. It
has story that can be followed in
the music and it is told vividly
and in an original manner. The
stumbling block to an all-out en-
thusiasm lies in the Viennese
tunes interviewer into it. They
seemed to have hardly the char
acter to maintain their first ap-
peal.
They might, however, be con-
sidered as props" in the theatri-
cal sense. for the lasting essence
of the symphony" is it's power
of depicting atmosphere. The
opening of the first movement is
gripping in its prolonged develop
ment and nature painting, the
Scherzo is vigorously jocund, the
third movement uncannily sar-
donic and the finale, tempetuous
and forceful The outline en-
closes gamut of emotion, ex-
pressed in hues of extraordinary
strength to which the simple mel
odies act as bits of light to re-
lieve the darkness.
Mr.. Mitropolous' reading showed
his sympathy and his understand
ing of the work. 1t showed also