English Translation

8h NeueTag Je Tageszeitung für Böhmen undmähren VEUT Kunst uno Wissen a fabric of iridescent colours, which basically draws fine J paradors and exciting charm from its distance from Mozart.The reproduction of these problems is enough At the desk: Otto Wartisch's work was the highlight of the evening. Otto Wartisch puts it (as well as the other works) concert of the Sudeten German Philharmonic very broadly, puts out every color, every nuance, every hidden voice flar and follows Ne in the stand theatre. Gers Jntenzionen down to the tiniest Rubato- For months has been the most urgent emergency twists. The sound resemblances and the ability of our musif life to create a constant and generative Lhrism are interpreted as the conductor for Prague's German orchestra empfun- dynamic increase of the fugue energetically. Diefer's desire is modelled out by the commitment. With far-reaching but the director-general of Gotha, Dr. Otto has also occasionally been filled with powerful soloistic gestures of Wartisch. Now one commands us the leading Klanggrup=Sinfoniekonzert in the stand theatre with him, secundized bon of the sounding left. Speaking from the image of the whole of perfconity The program was a commitment to that of a musician who raised me from creative suffering- romantic values of the great German society to the conductor. We ber's overture to "Eurhanthe" is a peculiarity, the tendency to austak is not only mentioned as a score of one of the most mature works of subtle note values; it stands in the man whose ingenious conductor's hand led the baton with the mentioned also in Prague; they pointed, especially in the "Eroica" striking in their peculiar pathos clearly on the breadth of almost all time measures. The same Waguer was the one who felt in orchestras the preparatory work of Beetürden's Es-dur Symphonie a sense of a fanatically conscientious student. Otto Wartisch played bor aberbäuber- derte; she, the "Eroica" to the end of the house; the applause with which he presented after all evenings was a meaningful thought, numbers of his program was thanked, which is a beautiful sign of the trust that one had in time. The revolutionary power, as the leader of the Sudeten-German philhar of the work, hardly needed the confirmation of the monic orchestra. by the legend of the riffed dedication of H. H. Stuckenschmidt to Napoleon; it speaks from every note, every sassorm of the symphony, in the tumultuous three-quarter of the Allegro con Brio. in the grieving march form of the C minor Adagio with the maggiore trio, in the spooky dance of the Scherzo and in the bass variations of the finale of all meber delivery, the fight is announced. Max Re ge r s opus 132 stood between Weber and Beethebten. The property situation of late-romantic German music around 1912 is exemplarily expressed in these variations. How Mozart's enchanting four-theme in the harmonic prism of the Negro sound hastened, flaunted, breaks in color, how the delicate Andante grazioso imagines a pandemic melodic character that is dizzying until the fugue theme completely atomies it, — that is a piece of shaped geese. Neger's unique mixture of bajvariicher Rraft and intellektualijerter Saßfunst has already exceeded its maturity point here. The very, swarmish-impressionist sounds of the first bariation, the misty chromatics of the second, the macabre scherzo of the fists, the harmonious revelry of the seventh and the visionaryly divided string sound of the eighth spin us into