Evening star., 1951-10-31
By Alice Eversmonn

oy ALICE EVSISmuHU
Eugene Ormandy. conductor OF
the Philadelphia Orchestra. ar
ranged the program of its seasons S
first concert in Constitution Hall
to revolve around the performance
of Strauss Elm Heldenleben." 1t
was played here last by the Ma
tional Symphony in 1947, so that
for many in the filled auditorium
last night, it appeared as nov
city. The reading had magnifi-
cent fire and served also to in
troduce to this public the new
concertmaster, Jacob Krachmal-
nick, whose playing of the violin
solo parts made a deep impress
sion.
Although Strauss insisted that
"this work is not realistic por-
trait of a particular historical or
Ipoetical figure but rather a more
general and free ideal of great
and manly heroism." it has been
suspected that Elm Heldenleben'
lis a personal story concerning
Strauss and his wife, his critics
and their final confounding. and
his compositions representing the
hero's works of peace" and
quoted in the finale. The latter
outline may be the hidden inspir-
alton OF the writing but If so. the
marvel is all the greater that from
this material Strauss could write
such glowing tone poem, sump-
tuous, poetic and dramatic. It is
long and. at times, redundant, yet
the interest is held by reason of
the composers orchestral magic
and his remarkable sense of struc-
ture.
1t has two impressive contrasts
the exquisite love music and the
mighty conflicts and subsequent
triumphs. The former was voiced
by the solo violin which. in Mr.
krachmalnick's hands, came forth
warmly beautiful and redolent of
sentiment. The concert masters
tone is full and resonant, a fine
medium for the tender passages
OF the "Hero's Helpmate," If not
quite so reflective of her petulant
moments. The security, rich
ness and spirit Of his playing NAV
have influenced the quality of the
entire violin section, for it ap-
peaSed to have taken on more
blended mellowness and to ex-
hibit greater amplitude in volume
The powerful direction of Mr.
'Ormandy was felt in every meas
ure. in the building up of effects
in the dramatic flow of the music
and in the vivid color contrasts
He seemed to draw out of hi.
splendid group of musicians the
maximum of interpretative effects
with a mastery consciousness o1
the tonal resources at his disposal
The orchestra never sounded bet
ter. It's clarity in performance
left undisturbed the overall vel.
vetiness of sound, even in the
massive climaxes. And Strauss, sc
understanding of the descriptive
ness inherent in every section
gave moments of splendor to each
in Elm Heldenleben." From the
general fineness of the playing
there emerged occasions when ad.
miration was fixed on some por.
tion Of the strings. on the wood.
winds or on the brass.
1nclosing the tone poem were
two Beethoven numbers, the Over.
ture to "Coriolanus." and the
Symphony No. s." Familiar work.
both. yet proving once again the
infinite resources OF music In thu
hands Of man of vision. The
Overture, another musical por-
trait, set the dramatic mood, in
content and in the style Of read
ing. of the entire program. which
eliminated In a compelling per-
formance of the symphony. It was
more than the music of Beethoven
that the conductor set forth. II
was his mighty spirit which, in
the symphony and its majestically
exultant finale, has a special
meaning for the world today.
Mr.. Ormandy was given a pro-
longed welcome on his entrance
and the audiences enthusiasm ran
high throughout the evening. A
special tribute was paid to Mr.
Krachmalnick, led by the conduc-
tor himself who, Immediately fol-
lowing the close of the Strauss
tone poem, stepped down to shake
his hand.
Works Of Mrs. Coolidge
Presented in Program
By EIeno de Soyn
Intimacy Of a family circle pre-
vailed at the 06th cnlehra finy, M