Evening star., 1950-11-27
By Alice Eversmon

Artie ShaW's appearance as
soloist on the seasons first Sun
day afternoon concert of the
National Symphony was an oc-
casion of interest to a variety
of people. In Constitution Hall.
children and teen-agers listened
raptly and applauded vigorously.
but no more so than did the staid
concert goers who recognized the
artistry Mr.. Shaw brought to his
performance. With Howard Nit
chell conducting the orchestra, he
played, as major selection, the
comparatively new Concerto for
Clarinet and Orchestra" by Nor
man Dello Joio which Mr.. Shaw
commissioned.
1t Is a fine work on two counts.
AS a vehicle for the solo instru-
ment, the composer has written
with considerable insight as to its
resources and, as another example
of Dello Joio's creative talent, it
shows widening of scope in con-
struction and in style. 1t consists
of two movements, a "Pastorale"
and Theme and Variations" The
"PaStorale' has a brooding mel
ody, somewhat Eastern in charac-
ter and so simple of design that
1t might be considered of folk
origin. Its treatment is varied
to give the clarinet full op-
portunity to sing throughout its
register.
Mr.. Shaw'S strong, steady tone |
responded f1exibly to the music's |
many cadences and the artist |
demonstrated his mastery in the
long sustained phrases and in the
extent of degrees of volume he
employed. The variations of the
final movement are expertly de-
vised, if wanting somewhat in
contrast. and in these, the clari-
netist's virtuosity was called on
for several notable effects.
The concerto is q serious work,
richly designed for the orchestra
and avoiding any inclusion of the
jazz idiom for the solo instrument.
The interesting contemporary har-
monic treatment is soft and
smooth in quality and both the
melodic themes and the lively
variations are notable for their
genuineness of spirit.
The arrangement by Mr.. Shaw
and Richard Maltby of Dominguez'
"Frenesi." Carmichael's "Star
Dust" and Porter's Begin the
Beguine" supplied another worth
while concert number. In fact, the |
Fantasy" brought Mr.. Shaw into
his own and he played with
freedom and beauty of tone sur
passing that of the Dello Joio per-
formance. The encores that fol-
lowed included Ravel's "Piece en-
forme de Habanera," and Pou-
lenc's Waltz"
Mr.. Mitchell opened the pro-
gram with a noble performance of
the Handel prelude and Fugue in
D Minor" in the late DR.. Kindlers
arrangement, played the colorful
"Espana" of Chabrier between Mr..
Shaw's numbers and ended with
Grofe's Grand Canyon Suite"
The Suite" has not had it's
proper place in the symphonic |
repertoire and gratitude is due
MIR. Mitchell for bringing it into |
that of the National Symphony.
1t is the most colorful writing to
come from the pen of an Ameri-
can composer.
Grofe uses the orchestra pic
torially and because of his extra
ordinary feeling for tonal effects,
has made musical canvas de-
picting Sunrise" Painted Des-
ert," Sunset" "On the Trail"
and "Cloudburst. In the latter,
the fury of sound is expressed in
an original manner and with tre-
mendous climatic contrast to the
delicate tints and serene atmos-
phere of Sunrise" and Painted
Desert" The orchestra's fine, well
planned account and the general
excellence of its performance
throughout the program received
hearty acclaim from the audience.
Rafael Sebastia. young Spanish
pianist. returned to this city
where he made his American