Evening star., 1952-01-17
Music
VioIir'1ist Eywen
Thrills Hearers
la Britten Work
By Alice Eversman

y Alice Evefsmdn
\ TWAS evident from the applause
that greeted Werner Lywen. con-
certmaster Of the National SYM
phony and It's soloist ct last
nights concert In Constitution
Hall. that his appearance was
awaited eagerly. The gifted violin
ist played rs soloist last season
and his performances has been the
highpoint In several symphonic
works where solo portions are
given the first violin. But last
nights interest was increased by
the fact that he would be heard
In an unfamiliar work, BENJAMIN
iBritten's Concerto in D Minor"
The concerto differs from any
other in the repertoire since the
violin bears to an unusual extent
the full burden Of work. It is Diff
\ cult. brilliant. and arresting in
Its material and form. It requires
| q performer Of impeccable tech
niQue and superlative musician
ship. MIR. Lywen played 1t superbly. |
\ giving q flawlesS account Of its !
intricate passages, his tone pure |
and expressive, and presenting his
Interpretation in a clear and force
ful manner. It was something of I
a feat to project the character of /
such q work 50 successfully and
the audiences response ran into
several recalls for the artist.
Color Exploited.
II MIR. Britten is 3 master OF song
and in his concerto has sought
to have the violin duplicate the
voice in expression and In fiorid
display. The accompaniment is
meager for the most part, the
orchestra serving to provide at
mosphere. Cymbal. drum and harp
do this In the flrst movement. In
the several short impressive |
Orchestral tuttis. however, the |
composer exploits the color possi-
bilities Of the ensemble most skill
fully. The concerto opens with q |
simple introduction much like |
that Of song. and the violin In
deed carries out the plan with q /
lovely melody that sings undis-
turbed for some time. It is rare to |
find such q long and beautiful
exposition given the solo instru-
ment without much background I
assistance from the orchestra.
The Scherzo rises to diabolic
heights at times but when merged
with the Passacaglia. the song re-
turns. At the end an apotheosis
is reached that closes the work
on an exalted note. The highestl
limits Of the violin are constantly
called into play and much use isl
made Of haImonicS In the caden-
m. These came out with great
purity In Mr.. Lywen's playing and
the Wide stretches and leaps toI
the end OF the finger board were
executed with complete accuracy
by the artist.
Poetry Of Solitary Kind.
The music has remarkable trans
parency and seems to mirror the
sky and be freshened by air from
the sea the composer loves 50 well.
Its poetry has q solitary quality,
often Of brooding intensity and
with 0 restless undercurrent that
never takes over completely. The
composer has created some etrik-
ing effects by employing simple
scales for both orchestra and solo,
ist. The work combines serenity
and light with more somher moods
and throbs with emotion. Howard
Mttchell's directing made much OIL
the tuttts and abetted the soloist
in his effects with fine discretion.
The sunniest portion of the
program was found In Mozart's
symphony No. 80 in Z nat Major
*. S43." which the Orchestra
played with style. After the inter-
mission. the conductor combined
TWO tone poems inspired by paint
ings. Rachmaninoff's THE Isle ofI
the Dead" after Boecklin's
famous picture by that name, has
been played before but LISTS
"Hunnenschlacht", based onl
kaulbach's painting, 1.-THE Battle
OF the Huns" not only was given
It's first local hearing but one of
its rare performances anywhere.
They formed an Intriguing con-
trast. Lszt's battle descriptions
are less notable than the reli-
gious motifs where the organ
joins the orchestra In solemn In
tonation. Nor does his inspiration
lead to the orchestral uaarni-
f1cance and brilliancy he could
employ. Rachmaninoff,s warm
hued and poignant "IsIe of thel
Dead" overShadowed 1t.