Evening star., 1951-12-07
By Alice Eyersmon

Beethoven's Pastoral SYM
phony and Stravinsky's lie Sacre
du Printemps" have not been link
ed together on a program here
since Walt Disney's film, "Fantas-
ia" was shown at the National
Theater ten years ago. Last night
they joined forces again to pro-
vide the major part of the Boston
Symphony concert in Constitution
Hall. Some 20 years ago. lie
Sacre" was performed for the first
and only time locally by the Phila-
delphia Orchestra under the di-
rection of Leopold Stokowski.
The next step was the collabora-
ton of these musicians with w.
Disney to evolve the film which
gave a visual Interpretation to the
masterpieces played by the Or
chestra.
All that is past history, but to
show the mellowing effect of time,
lie Sacre" proved less formidable
last night under Pierre Monteux'
direction than 1t did when played
to the gambols of Mr.. Disney's S
dinosaurs. Indeed it was quite &C
ceptable to American ears familiar
with the drum beats of Indian
dance and their primitive ritual.
Stravinsky, of course, was not
thinking of the American Indian
when he wrote it but first of the
Diaghileff Ballet Russo, for which
1t was intended, and secondly, of
the primeval. pagan days in Rus
sia. We resist the temptation to
draw comparisons with the pres
ent.
Appeal Not Immediate.
Primeval days were the same
everywhere apparently. They are
represented in music by clashing
sounds and exciting rhythms. by
fearsome. monotonous repetition
and frenzied exaltation. Stravinsky
has accepted the pattern and
brought his genius to its evolution.
lie Sacre" is a powerful work.
remarkably impressionistic in
many of its descriptive parts, and
bald and forbidding in its stark
emotionaliSm. How splendidly this
music suits the ballet is visible
at once and it is possible to ilnag-
Inc it danced by Diaghileff's superb
artists and in the sumptuous set
ting he gave it. AS a concert
number 1t is both awe inspiring
and ear racking. Considered in
terms OF progressive musical in
vention, it is a masterpiece. But
its appeal to an audience is not
immediate.
Monteux' presentation Of it was
magnificent. For his rock-like Sc
curity in the complex and con-
stantly varying rhythms alone, he
deserves an accolade. But he did
more. The steady, even movement
OF the music from start 20 finish
was born Of his profound ac-
quaintance with 1t. BY his distri-
button OF shadings he achieved a
sottneSs of outline that reflected
all the more forcefully the mex
orable primordial life. and in his
dynamic road to climaxes. the
savage frenzy. 1t was. perhaps. by
the tnf1exible calmness of his
reading in the midst Of frantic
rhythms and changing moods,
that he was able to make so clear
and understandable this compli-
Gated work.
Mood Quickly Established.
He brought the same inner par
ticipation to the delivery of
Beethoven's symphony. Rarely has
the serenity of its mood been so
quickly established as Monteux
achieved in the first measures
1t continued without blemist
throughout the four movement.
even though Beethoven's some
times crude joviality was not always
defined. Nor did the Thunderstorm
and Tempest create much dis.
turbance as Monteux depicted them
and the preceding Jolly gathering
of country folk" was very re-
fined. In such matters the eminent
conductor did not satisfy complete.
ly but he did wonders in other re.
spectS, particularly with the tone
and style of the orchestra.
There was none of the under.
current Of excitement In the
musicians playing that the Bos.