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Evening star. [volume] (Washington, D.C.) 1854-1972, November 22, 1937, Image 9

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Persistent link: https://chroniclingamerica.loc.gov/lccn/sn83045462/1937-11-22/ed-1/seq-9/

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Capital Pianist and Cellist
With Symphony Please
Dr. Kindler Also Includes
First Performances of
American Composers.
By ALICE EVERSMAN.
THE patrons of the National Symphony turned out in large numbers
yesterday afternoon for the program featured by two local artists,
Glenn Carrow. pianist, and Howard Mitchell, cellist, making their
most important public appearance with the orchestra at Constitution
Hall. Dr. Kindler made this program still further out of the ordinary by
Including first performances here of compositions by American composers,
van v actor a r-assacagna ana'
Fugue” and Paul White's "Five Min
iatures,” while taking from the or
chestra's repertoire Purcell's "Suite
for Strings" as opening number and
the waltzes from Richard Strauss’
"Der Rosenkavalier” for conclusion.
In Mozart's "Concerto in A Major”
Mr. Carow chose a number well suited
to demonstrate his fluent technique
and his command of style. The care
ful attention to detail, the correct
swing of a phrase and the balance of
light and shade was evident in all
• three movements, which furthermore
were kept as separate units as to their
character. It may have been* that,
keeping in mind the delicacy of style
of Mozart, he adjusted the volume of
tone for that effect for it was too
light at times to carry well over the
orchestra. Former appearances of Mr.
Carow left the impression of greater
brilliancy and tonal depth than lie
displayed yesterday.
Judging entirely from his perform
ance in the concerto, one would wish
for more roundness and sonority in
sustained passages and a consequent
sparkle in trills and scales. That this
is his natural attribute was felt in
the rippling character of his tech-'
nique and the fine sentiment he
brought into the andante movement.
As an orchestra soloist he proved
himself quite at home and the audi
ence was hearty in its applause, which
he had to come out and acknowledge
several times.
Mr. Mitchell, first cellist of the Na
tional Symphony, played the "Sym
phonic Variations.” by Boellmann, a
virtuoso number capable of display
ing the mobility of his tone and his
splendid command of his instrument.
He played with assurance, taking the
flashing measures with facile ease and
infusing warmth into the more lyric
moments. At times he was over
shadowed by the orchestra, which was
not so well modulated as in the
Mozart number, but in spite of this
handicap Mr. Mitchell gave a stirring
performance of artistic finish. He
also was recalled repeatedly, the audi
ence showing by its acclaim of the
two soloists its appreciation of Dr.
Kindler’s choice for the program.
In the two compositions by Ameri
can composers, two distinct moods
were placed in Juxtaposition. The
formal character of Van Vactor’s
‘ Paaaacaglia and Fugue,” completed
the day after the birth ot the com
poser's daughter and dedicated to her,
has nevertheless a human side brought
out through the warmth and color of
the two parts. Although the com
poser has limited himself with the
style and themes he has chosen, he
has written with vigor and skill. The
"Five Miniatures” from the pen of Mr.
White, a native of Bangor, Me,, are
full of humor and fantasy. His
choice of subjects, "Bv the Lake,”
"Caravan Song,” "Waltz for Teenies
Doll,” "Hippo Dance" and “MoAquito
Dance" are pictured in tonal color*
of high originality worthy of ranking
with Moussorgsky's, Salnt-Saens' and
Rebikow's skill in this kind of musical
portrayal.
The orchestra's reading of the two
numbers was less smooth than that
given to the Purcell suite and the
Strauss "Rosenkavalier” waltzes. In
these the orchestra brought greater
variety of effects and purity of tone,
playing them with the finer polish
which has accompanied its perform
ances this year. The audience enjoyed
the program and showed Dr. Kindler
its appreciation fully.
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