Reprinted from yesterday's late editions.

Music was made as it should be Monday in the Kennedy Center. Eugene Ormandy led the Philadelphia Orchestra in two works of Brahms, the Haydn Variations and the Second Symphony. And, with Clifford Curzon as soloist, he offered a glowing account of the Mozart C Minor Piano Concerto.

The Brahms-Haydn was ideal in pacing and in exquisitely balanced tone. It was also a model in an area many conductors misjudge, the vital matter of precisely how long the pause should be between variations. The result was a lofty reading full of vitality.

The symphony was no less an example in every way, with a tumultuous code that summed up all the spirited playing that had preceded it.

The Mozart C Minor is one of the wonders of the musical world. To assure adequate prominence for the woodwind choir that lies at its heart, Ormandy reduced the strings. Curzon, playing with not only impeccable musicianship but a wonderful sense of delight in the work, provided a reading that mingled luster with superb articulation.

The slow movement was phrased like one of the great soprano arias, while the outer sections, with their endless surprising turns of thought, exulted in the pianist's shading, his lucent tone and his partrician manner. Curzon has not been in Washington in far too many seasons. It was a special pleasure tohear him again.