Evening star., 1952-01-09
Music
Ornondy, Musicians
Recreote 'Pothetique'
Music MognificentIy
By Alice Eversmon

The Philadelphia Orchestra au-
dience was given performance of
TschaikowSky's Symphony No.
g." known as the "Pathetique," in
Constitution Hall last night such
as has never been heard here pre-
viously. 1t left that audience limp
with an artistic and emotional ex-
perience, begun with the first
phrase and transversing infinite
shades of feeling to a final tragic
end. The cheers and plaudits at
the close but partly expressed the
reaction. Hero of this part of the
program was the orcheStra'S con-
ductor, Eugene Ormandy, who not
only gripped his listeners by the
profundity of his understanding
and feeling but demonstrated ex-
ceptional powers in leading his
musicians to so magnificent a re-
creation of the music.
1t came forth complete, in full
realization of the waves of emo
ton that guided the composer.
1t was as clearly stated as al
drama on the stage, with the
same valuation of measured
speech, the same fluctuation of
mood and with the inexorable,
steady climb to climaxes. This was
the impact of the music, infused
with passionate intensity and the
slumbering fire of melancholy. But
back of it lay the conductors
sense OF architecture, the strength
OF his musicianShip expended on
every note, and the skillful balanc-
ing Of orchestral sections while |
maintaining the utmost clarity in |
the muSic's design.
The performance also epitomized
the great talent of the musicians |
OF the orchestra. They were in
spired last night, but even so,
countless nuanceS stood out as
evidence OF their mastery. There
was, for example. the fine, lovely
diminuendos by the violins at H
the end of each phrase of the
t1rst movements second theme, the
scales that in one Swoop created a
gamut of sound around the martial
theme of the third movement.
The manner in which the wood
winds sustained their important
effects, the bitter irony of the
brass proclamations, the mournful
speech of the darker string in
struments, all were set forth with
musical polish and personal con-
victlon. AS mechanics of inter-
probation, they were of the highest
order yet it was the ineffable
tragedy, drama and poignancy of
the music that reached the audi
ence through their means with
such profound effect.
It was a Tschaikowsky program,
opening with a performance of
the Overture to the opera 1.-The
Oprichnik. The high point of
the preintermission portion was
the debut of the orchestra's con-
certmaster, Jacob Krachmalnick.
as soloist in the TSchaikowsky
violin concerto. Mr.. Krachmal-
nick has been heard in solo por-
tionS in symphonic works when
the individuality of his talent was
remarked. His tone of rich, sonor-
Gus quality resembles that Of
Mischa Elman, although smaller
IN size. Its clarity and expressive
ness, together with a fleet, secure
finger technique, proved admir-
able for the soulful music of the
concerto and his performance won
him an ovation from the public
and his colleagues in the orches-
ira.
He played the Auer edition of
the work in which so much of the
original has been cut out or re-
arranged. The composer first ded-
icated it to Auer, who declared It
unplayable. It has not benefited
by his tampering with it. Mr..
Krachmalnick could have done
full justice to the original espe-
eially in the last movement, for
his easy control of the passage
work in the quick tempo demon
6trated his ability fully. At other
times his use of rubato seemed
misplaced, his tempt somewhat er-
ratio, and the Canzonetta would
have been improved with more
spaciousness in line and vibrancyI
of tone. He is valuable addi-
tion to the orchestra and his fell
low musicians rejoiced in his sue
cess.