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Evening star. [volume] (Washington, D.C.) 1854-1972, April 05, 1946, Image 27

Image and text provided by Library of Congress, Washington, DC

Persistent link: https://chroniclingamerica.loc.gov/lccn/sn83045462/1946-04-05/ed-1/seq-27/

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Final 15-30’ Concert Accents
Melody, Rhythm and Drama
By Alice Eversman
The final program of the "15-30’
series of the National Symphonj
last night in Constitution Hall was
one of the young people's choosing
The selections were those receiving
the most votes when this ‘‘request’
program was announced and repre
sented the general type of music
the average enthusiast likes. The
number of people in attendance
shows how this series, not one ol
the best patronized in the begin
ning, is gaining more and more
ground and popularity.
The predominating elements ol
the music played yesterday were
melody, rhythm and drama. Emo
tional intensity in both Tschai
kowsky's symphonic poem, “Romec
and Juliet,” and the ‘‘Allegro” of
Schubert's “Unfinished Symphony’
was relieved by the colorful dances
from Khachaturyan’s “Gayaneh,”
which ended with the thrilling
"Dance with the Sabres.” The
orchestra did some of its finest
playing in these numbers. Schu
berts “Symphony” is one in which
the tone of the ensemble is rich
and pliable and the dramatic, mov
ing story of “Romeo and Juliet” is
visualized by Dr. Kindler with re
markable effect. The three dance
excerpts. “Dance of the Rose
Maidens,” “Lullaby,” and “Dance
with the Sabres.” are full of the
contrasts the orchestra can measure
so skillfully.
The more serious part of the pro
gram was disposed of before the in
termission, following which the ever
popular numbers such as Enesco’s
“Romanian Rhapsody, op. 11, No.
2,” Debussy’s “Clair de Lune” and
Johann Strauss’ “Emperor Waltz”
were played. Each of these received
the same well-thought-out treat
ment so that their appeal, as built
up from the National Symphony’s
fine reading, can be appreciated.
Dr. Kindler’s arrangement of Cho
pin’s “Polonaise, op. 53,” is now one
of the most desired numbers of the
orchestra's repertoire and with it
the concert series, sponsored by the
young people, ended for this sea
son.
Budapest Quartet Concert.
In the Library of Congress an
other concert by the Budapest
String Quartet drew a capacity au
dience to the Coolidge auditorium.
Programmed for this event were
Schumann’s “Quartet in A Minor,
op. 41, No. 1,” Beethoven’s “Trio in
C minor, op. 9. No. 3” and Brahms’
"Quartet in B flat major, op. 67.”
The Budapest artists, Josef Rois
mann and Edgar Ortenberg, violin
ists; Boris Kroyt, violist, and Mischa
Schneider, cellist, again demonstrat
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i The same program, presented un
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