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CITIZENS PLAN MEMORIAL TO FAMOUS ‘MARCH KING”
A__ - J>. - . ..— . i~. . . . .— Capital’s Own Composer Linked With Bridge Name Marches of Sousa, Says Admirer, Should Always Be a Part of Memorial at Proposed New Span. By Alice Eversman. AT A recent meeting of the Southeast Washington Citizens' Association it was suggested that the proposed new Pennsylvania Avenue Bridge over the Anacostia River be named the "Sousa Bridge” and constitute a memorial to John Philip Sousa, internationally famous as "The March King,” and a Washingtonian by birth. Sousa first saw the light of day in that section of the city, and his body lies in Congressional Cemetery. near tne site ot tne new onage. ai-<j though the famed leader was known and loved throughout the world. It has always been the particular pride of Washington that so many of his activities identified him with local life, and the question of an appropriate memorial to him has long been under consideration. Another famous American, Francis Scott Key, has been honored in the District by having a bridge named for him, and this also approaches close to the place where his home was located. Francis Scott Key, who wrote i •‘The Star Spangled Banner.” is known the world over and revered in his own country for giving to his compatriots their national anthem, yet the man who wrote the stirring march "The Stars and Stripes Forever” has done more to bring nations to b realization of the ardor of American patriotism than any other composer. A further suggestion was made by Jesse C. Suter. that arrangements be Installed whereby electrical transcrip tions of Sousa’s compositions could be played at intervals throughout the day, thereby immortalizing the mem ory of Washington’s beloved musician through the music that has quickened the pulses of countless hearers and which was his great legacy to his country. ■ UV£i rvcjr, ouuoo woo 8‘COk H"w*wk ■*“' and a man of noble character. While Key wrote the poem of “The Star Spangled Banner” for his coun trymen, it remained for Sousa to carry It over the world, and to write both the poem and words of another na tional anthem which enshrined the story of our flag in irresistible melody and rhythm. Not only Americans, but millions of people of other nations, have marched to the thrilling strains of “The Stars and Stripes Forever.” Sousa himself, in one of his books, tells the story of how his famous march took form in his mind. While he was in Naples, he was suddenly called home by the death of his man ager. He writes: "Here came one of the most vivid Incidents of my career. A' the vessel steamed out of the harbor, I was pacing the deck, absorbed in thoughts of my manager’s death, and the many duties and decisions which awaited me in New York. Suddenly, I began to sense the rhythmic beat of a band playing within my brain It kept on ceaselessly, playing, playing, playing Throughout the whole tense voyage, that imaginary band continued to un fold the same themes, echoing and re-echoing the most distinct melody. I did not transfer a note of that music to paper while I was on the steamer, but when we reached shore I set down the measures that my brain-band had been playing for me, and not a note of it has ever been changed. The com position is known the world over as •The Stars and Stripes Forever,’ and Is probably my most popular march.” TT WAS a British newspaper which •*■ gave him the title of "The March King” and a Berlin review agreed that he had as much right to be called to as Johann Strauss tr be known as “The Waltz King.” A critic in Aus tralia wrote: “If Sebastian Bach is the musician’s musician and Carl Czerny the student’s musician, em phatically John Phillip Sousa is the people's musician.” An amusing story of his popularity in Italy is told by Sousa himself. While walking in the Piazza St. Marco in Venice with Mrs. Sousa, be heard the band playing his “Washington Post” march. Stepping into a music store close at hand, he asked for the piece the band had just played and was handed a copy bearing the name "Giovanni Filipo Sousa.” He inquired of the clerk who the composer was. “Oh” came the answer, “he is one of our most famous Italian com posers.” “Is he as famous as Verdi?” asked Sousa. “Well,” said the clerk, “perhaps not quite as famous as Verdi: he is young yet, you see.” ‘Have you ever seen him?” asked Sousa. "I do not remember. Signor.” answered the clerk. “Then, permit me,” said Sousa, “let me introduce my wife. This is Signora Sousa. “And this,” said Mrs. Sousa "is my hus band, Signor Giovanni Filipo Sousa.” Cmica wrap nnA ♦ Via f aw Ulhft ho VP served as a commissioned officer in the three branches of military serv ice, the Army, Navy and Marine Corps. For 12 years he was the leader of the Marine Band. His European tours brought him the largest concert audiences of any visiting group. He was decorated by Edward VU of Eng land, made a member of the French Academy and also of the Belgium Academy. He served in the World War by organizing a music battalion, which assisted in the Liberty bond campaigns over the entire country. Whenever his country needed him, he came, and always with his music to cheer and uplift the people he came in contact with. COUSA was a widely cultured man, ^ a writer and student, but it is as a composer that he won an affec tionate place in the esteem of his compatriots. He wrote 12 operas. 100 marches and many swigs. He knew the spirit of his country, its virility and the speed of its life, and he wrote for it in the manner that ap pealed to it most. He died on March 6, 1932. and came to a final rest in his own city. What more fitting monument could be raised to him than the bridge pro posed, with his Immortal music con stantly a part of the memorial. There are other great composers in this country and many more will come forth undoubtedly, but none will take the place of the man who could rouse the enthusiasm of a multitude and make it long for great deeds to do, as John Philip Sousa was capable of doing with his melody and rhythm. I In Local Music Circles WILLIAM WEBSTER, vocal teacher of New York and Washington, will present, among his other pupils, in recital at the Washington Club. 1010 Seventeenth street northwest, Monday at 8:15 pm.. Elizabeth Richmond Graebner. sister of the American poetess, Nellie Richmond Eberhart. Mrs. Graebner will sing one of her sister's songs, which was set to music by Charles Wakefield Cadman, “Moon Behind the Cottonwoods.” Mary Cryder will present at the Arts Club on Monday evening at 8:30 p.m., Georgia Hazelett, dramatic soprano, on the first part of the program, in a song recital. The second part will be the card scene, Act 3, in costume, from "Carmen,"—“Frasquita” will be sung by Martha Adams, "Mercedes” by Frances Jackson, and "Carmen,” by Myra McCathran Myers. Dorothy Paul will be at the piano. The Rubensteln Club will hold a joint rehearsal Tuesday evening at the Willard Hotel, at 7:45. All members are expected to be present. There will ■ not be a morning rehearsal, i Auditions for active members wish ing to join before the Spring concert can be arranged with the chairman of the Voice Committee. Edith White. The club is under the direction of Claude Robeson and Adele Robinson Bush is the accompanist. Epiphany Church Choir, under the direction of Adolf Torovsky, will sing the short cantata "Penitence, Pardon and Peace," by J. H. Maunder, tomor row evening, at 8 p.m. At 7:30 p.m.. Mr. Torovsky will give the first of a series of six Lenten organ recitals. Mr. Durkin, bass, will be the assisting soloist The choir of All Saints’ Episcopal Church, Chevy Chase, Md.. will present the cantata, "Penitence, Pardon and Peace," by J. H. Maunder, tomorrow at 8 p.m. Soloists: Mrs. Clarice K. Griffith, soprano: Robert H. David son, barytone. Organist and choir director. William H. Taylor. william H. Hayghe, tenor, will as sist Lewis Atwater, organist, in a pro gram of American music tomorrow afternoon at 5 o’clock at All Souls’ Unitarian Church. The Felicia Rybier Music Club will hold its monthly musicals Wednesday at 8:30 at the Studios, 3 Dupont cir cle. It will present at this time Grace Donahue, contralto, a pupil of Gretchen Hood. Miss Donahue comes from Boston and is one of the At water Kent winners in 1930. She will be accompanied by her teacher. Other artists on the program will be Helen Spasoff, pianist, and Betty Morris, vio linist On Monday a tea recital was given by pupils of G. W. Crist, director of the Conservatory Preparatory Depart j ment at the school. Those taking part were: Barbara Frink, Byran Ogden, Miriam Betlinger, Marcia Myer, Elea nor and John Hill, Gloria Hysong, Pattie Hockey, Kittle Claude, Frances Chynoweth and Lilo Janssen. Warren F. Johnson, organist, will play “Hymn to the Sun" and “Will o’ the Wisp” from “Pieces de Fantaisie” by Louis Vieme, before the evening service at the Church of the Pilgrims tomorrow. Donald Thomas, Washington singer, was the guest soloist at the Sunday morning Bible breakfast a the Sloane House Y. M. C. A. in New York last Sunday. Mr. Thomas was accom panied by Frank Egan of Detroit. Mr. Potter Guest Artist. - 'T'HE guest artist at the Candlelight concert by the Washington Cham ber Music Society at Phillips Memo rial Gallery Monday will be Harrison Potter, pianist of New York. Mr. Pot ter, a pupil of Felix Fox of Boston and Isador Philipp of Paris, has given solo recitals throughout the United States as far West as Alaska He has also appeared with several symphony or chestras and chamber music organ izations and has given lecture recitals with Marion Bauer. Mr. Potter has played previously in Washington at the Arts Club and in private recitals. The program Monday will include the Haydn “Quartet in D" and the Franck “Quintet in F.” The usual hour of 5 o’clock has been changed to 5:30 owing to the children’s concert by the Na tional Symphony Orchestra. Guest Artist HARRISON POTTER, pianist, of New York, who will play the Franck "Quintet in F” with the Pro Musica Quartet at the candle* light concert Monday at 5:30 pm. at the Phillips Memorial Gallery. b Two Popular Artists to Appear Here Next Week ROSE BAMPTON, The popular contralto, appearing for the second time at Constitution Hall on Tuesday evening as member of the Opera Quartet. MARTA DE LA TORRE, Appearing in recital with Jose Echaniz, Cuban, pianist, on Wednesday evening at the Willard Hotel on the first concert under the sponsorship of the new concert bureau, Beren-Brooks Artist*. Miss Moore In Recital to Appear Here Opera Singer Coming for Constitution Hall Engagement. QRACE MOORE, glamorous soprano star of the Metropolitan Opera, the concert stage, radio and the screen, will make one of her few personal appearances in recital atj Constitution Hall next Sunday after noon, March 8, at 4 o’clock, under the management of Dorothy Hodgkin Dor sey. A tentative program selected by Miss Moore for her recital next Sun day afternoon indicates that she will include therein the "Depuis le jour" aria from "Louise." the "Air de Lia” f m Debussy’s “L'Enfant Prodigue,” Bizet's “Ouvre ton coeur," the Arensky - Koshetz “Valse," DeFall’s “Sequidilla,” Nin’s “Pano murciano” and an Eng lish group that includes “There’s Not a Swain," by Purcell; Cyril Scott’s “The Unforeseen," James H. Roger’s “Wild Geese,” Edward German’s “Who'll Buy My Lavender" and John Alden Carpenter’s "Serenade.” Miss Moore’s recital was originally announced for Sunday afternoon, March 29, but owing to certain changes in the singer's plans for a European concert tour, it became nec essary to move the date of the at traction up to March 8. Accordingly, announcement is made by Mrs. Dor sey that although all Grace Moore tickets are marked “March 29.” they will be honored at Constitution Hall only on this afternoon. Concert Schedule TOMORROW. National Symphony Orchestra, soloist. Sylvia Lent, violinist, Constitution Hall, 4 p.m. MONDAY. Candlelight concert, Harrison Potter, pianist, guest artist, Phillips Memorial Gallery, 5:30 p.m. Georgia Hazlett, Martha Adams, Frances Jackson, Myra McCathran Myers, in song re cital at Arts Club, 8:30 p.m. Lecture on "Modern Music," by Robert Barrow, Washington Col lege of Music, 8 pm. Recital by pupils of William Webster, Washington Club, 8:15 p.m. Navy Band, "Hour of Mem ories" program, 11 a.m. Army Band, 6 p.m. TUESDAY. Lecture by Julia Schelling on Wagner’s “Dusk of the Gods" and "Bayreuth of Today," Washing ton College of Music, 8:15 p.m. Navy Band Symphony Or chestra. 8 p.m. Marine Band, "Shut-Ins Dream Hour,” 11 a.m. Soldiers’ Home Band Orches fro £k*9fl n m WEDNESDAY. Jose Schaniz, pianist, and Marta de la Torre, violinist, re cital, Willard Hotel, 8:45 pm. Adult Department Chorus of Calvary Baptist Church, annual concert. Woodward Hall, Eighth and H streets northwest, 8:15 pm. Navy Band Orchestra, Music Appreciation Series, 4 pm. Army Band, 11:30 am. Marine Band Symphony Or chestra, 8 pm. THURSDAY. National Symphony Orchestra, soloist, Egon Petri, pianist, Con stitution Hall, 4:45 pm. Navy Band, Patriotic Half Hour, 11:30 am. Soldiers’ Home Band, 6:30 pm. FRIDAY. Alice Shlers, program of harpsichord music. Library at Congress, 4:45 pm. Marine Band, ■ pm. | Army Band, 4:15 pm. SATURDAY. Soldiers’ Home Band Orches tra, 5:30 pm. A 4 Member of Opera Quartet i ...mu.m.i.mmmmm... mmmrn -I CHARLES HACKETT, Tenor of the Metropolitan Opera, who will sing with the Metropolitan Opera Quartet on Tuesday evening at Constitution Hall. Helen Jepson will be the soprano and Richard Bonelll the baritone. Metropolitan Quartet To Sing Tuesday Evening Operatic Solos, Duets, Trios and Quartets to Be Heard at Constitution Hall. AMONG the outstanding music events of the week in Washington will be the appearance at Constitution Hall on Tuesday evening at 8:30 o'clock of the Metropolitan Opera Quartet—Helen Jepaon, soprano; Richard Bonelli, baritone; Charles Hackett, tenor, and Rose Bampton, contralto—in a program of operatic solos, duets, trios and quartets from the standard operatic music of the* world. The program follows: Duet from Act I. “Berber of Seville." Rossini Messrs. Hackett and Bonelli. “Pace. Pace. Mlo Dio ” from “La Foraa del destino”_Verdi flss Bampton. Duet from "La Boheme'r (Finale. Act I. Puccini Miss Jepson and Mr. Hackett. Toreador «ong from “Carmen"_Bizet Mr. Bonelli. Garden scene from Act II. “Faust”.Oounod Miss Jepson. Miss Bampton. Mr. Hackett and Mr. Bonelli. Intermission. Duet from Act I. "Lakme”_Delibes Miss Jepson and Miss Bampton. ‘‘H Mlo Tesoro.” from “Don Giovanni." Mozart Mr. Hackett. "Ah Fors e lul.” from "La Travlata’’_Verdl Miss Jepson. Duet from Act It “Barber of Seville." Rossini Miss Bampton and Mr. Bonelli. Quartet from "Rlzoletto"___.Verdi Miss Jepson. Miss Bampton, Mr. Hackett and Mr. Bonelli. Helen Jepeon, soprano of the Me tropolitan Opera quartet, like the three other members of that organiza tion, is an American by birth—a Pennsylvanian—who came to the Met ropolitan Opera via the Curtis Insti tute of Music and the Philadelphia Grand Opera Co„ and who has added fresh thousands to the circle of her admirers with her coast-to-coast broadcasts. Miss Jepson is expected to make her debut as a star of the screen within the next year. Rose Bampton, the tall, stately con tralto of this and last season's Metro politan Quartet, is one of the youngest stars in the American operatic firma ment, having achieved her place at the Metropolitan Opera House only three years ago, following a brilliant career as a protege of Leopold Sto kowski, the distinguished conductor of the Philidelphia Orchestra. Charles Hackett, tenor of the cur rent Metropolitan Opera Quartet, achieved triumph at La Scale, in Milan; at London's Coveni. Garden, at . t> the Grand Opera and Opera Comique. Paris, as well as Buenos Aires’ Colon before coming to the roster of the Met ropolitan Opera Association. Mr. Hackett is a native of Massachusetts and acquired most of his training In Italy. Richard Bonelli, baritone of the cur rent as well as last season’s Metro politan Opera, is not only outstanding in opera at the Metropolitan, but has achieved signal success with the San Francisco, Chicago and Detroit opera companies. He has also been one of the year’s outstanding stars of radio and has appeared on the screen. Seats are available a* Mrs. Dorsey’s Concert Bureau, in Droop's, 1300 G street northwest, and will be available at the Constitution Hall box office after 7 o'clock on Tuesday evening. • I To Talk on Modern Music 'pHB Washington College of Music announces a series of four lectures ] on "Modem Music” by Robert Barrow, organist and choirmaster of Washing ton Cathedral, beginning Monday at 8 p.m. The subject of the first lecture will be “The Classic Approach to Mod ern Music." The subsequent lectures will be as follows: Monday, March 18, "The Materials of Modem Music,” Monday, March 30, “Early Modem Composers,” and Tuesday, April 14, "Advanced Modem Composers." Mr. Barrow has recently returned from a period of Intensive study 1 abroad with R. Vaughan Williams and Arnold Bax. During this time he was in touch with many new developments in the field of modem music which i will be discussed at these leotures.' i J Composers At Concert Tomorrow Four Americans Are on Program They Will Attend. |70UR contemporary American com posers. all of them widely known, :ontribute works to the concert which the National Symphony Orchestra plays at 4 o’clock tomorrow afternoon in Constitution Hall. All of these composers are expected to attend this program in which their works will be played in the National Capital for the first time. One of the writers, Edward Potter. Is a Washington man. Another, John Poweil of Richmond, Va„ has been here on many occasions as a pianist, as well as a composer, and is a pop ular musical figure in the Capital. Franz Bomschein of Baltimore, the third composer. Is also widely known in Washington. The fourth, Bernard Wagenaar of New York, who has made his name familiar wherever contemporary music is discussed, will have one of his compositions played by the National Symphony for the first time. Hans Klndler, whose efforts in be half of the American composer have been steadfast since he became con ductor of the National Symphony, will devote the first half of the pro gram to these American works. The concert also presents Sylvia Lent, noted woman violinist, who has appeared so brilliantly with the or chestra before. She will play one of the most famous of Max Bruch's compositions—the "G Minor Con certo” for violin and orchestra Dr. Kindler has also announced a Brahms Hungarian dance, and waltzes by two Johann Strausses. The concert will be played as fol lows: Elegiac overture. ‘'Chatterton-'_Potter ‘Southern Nights”_Bomschein “Green Willow." from “A Set of Three.” row r, i Divertimento’’ ..........._W»gen»»r Cortege. Pesney. Pastorale. Rondo. "Concerto In O Minor for Orchestra and Violin"__ Bruch Sylvia Lent. 'Hungarian Dance No. 1”-Brahms rwo polka-mazurkas. , Johann Strauss (father) "In Praise of Women." "A Woman's Heart.” Waltz. "Voices of Spring.” Johann Strauss (son) Cuban Artists’ Program. TWO outstanding artists who have 1 not before been presented here, Jose Echaniz, pianist, and Marta de la Torre, violinist, both of Cuba, will x heard in concert Wednesday eve ning at 8:45 o’clock at the Willard Hotel. In offering the first of a series )f concerts planned to foster Latin American music and artists in this :ountry, Beren-Brook Artists, which s making its initial bow in the con* Bert world, has chosen these two irtlsts who are both already known in European music centers and in Hew York. During concert tours as assisting irtlsts with Tito Schipa, the noted tenor, Echaniz has acquired a mu sical following In this country which "leralds great Interest in his coming leoui in roe nsuons vapiuu- *iig :onoert will be given with patronage >f the Cuban Ambassador. Senor Dr. 3uiUermo Patterson y de Juaregul. The Latin American diplomatic set ind resident colony here has mani fested keen interest in the efforts of Beren-Brook Artists to help artists from their native countries to be pre sented in Washington, New York and >ther American cities. Further con :erts are in prospect this Spring, with % full series locally planned for next season. Marta de la Torre’s program Wed nesday will consist entirely of works from Latin composers, featuring the ‘El Poema de una Sanluquena.” by rurina, noted Spanish author, which she played with the composer in Se ville in its world premiere. Duo Pianists at Y.W.C.A. T>hE program lor the music hour tomorrow at 5 o’clock at the Y. n. C. A., Seventeenth and K streets, rill be given by Elsa Bush i 4 Mar puret Hall of the music faculty of of 3t. Timothy’s 8chool, CatonsvlUe, Md. h Work New to Capital Offered by Orchestra Comments on the Program of the National Symphony Musicians, Thursday at 4:45 p.m., Constitution Hall—Solo ist, Egon Petri, Pianist. BY HANS KINDLEB, Conductor. The program for Thursday's concert s as follows: ‘Chaconne." for vlollni, cello* and * . basses" _Purcell ‘Symphony In C Major, Opus 1H." Boccherini "Allegro ma non molto.” "Andante amoroso" “Tempo dlmenuetto." Presto ma non tsnto.” 'Concerto In D Minor"- Bach "AUetro non troppo ed enereico." "Adagio.” "Allegro." Egon Petri. Indian Pantasy”_-_. Busoni Egon Petri. Prelude to Act III from "Die Meister singar’’_ Wagner ‘Oesang de Rhelntochter," from "Got terdammerung" _..._Wagner 'Chaconne” .Purcell LJ^ITHIN comparatively recent years Purcell has re-acquired the high >lace in music which during his llfe .ime was his, and which for several lundred years, through a number of :ircumstances, had been lost to him. We have played with our orchestra ixcerpts from "Dido and Aeneas,” and ilso a suite for string orchestra. The iresent “Chaconne” Is a work for vio 1ns, cellos and basses only; It does rot have a part for violas in It. The main theme, as is usual in a chaconne, :onstantly recurs—In a different way, rowever, to the passacaglia. Where it tlways appears in the bass in the pas iacaglla, it sounds forth in different ‘egisters throughout the work. This work has never before been played In Washington. ‘Symphony in C Major, Opus 16”.--Boccherini FT SEEMS to me that U is both a joy and the pleasant duty of an or chestral conductor to acquaint his lis eners, first of all, with the acknowl •dged standard works of the great :lassie composers, as well as of those ivorks which are presented to him by contemporary composers. But there is a third and equally pleasant duty incumbent upon him, md that Is to delve into the rich treas ures of many of the lesser known com posers of times gone by. Quite recently I found a.i unusually fine musical nugget in a symphony by iiU T tuinb ...411 V.A.-A its first performance in Washington mi the coming Thursday. This work, which is in four movements, has all the grace of the composers of the period of Mozart and Haydn, and, with the exception of these two great geniuses, is of more interest musically than any other symphonic composi tion of the period that I can recall. It has depth of feeling, charm of ut terance, contrast throughout, and a virility which makes jne wonder why this work should at any time have been shelved, as undoubtedly it must have been. Problems it does not pre sent. It appeared in 1775 in Paris, is the third one of Boccherini’s sixteenth opus, which contains six symphonies, and of which this one is undoubtedly the most Important. I feel for this work a particular fond ness, inasmuch as it was created by the man who was the greatest cellist of his time, and whose works for that instrument have been favorites of every cellist in the literature for the instrument. Boccherini. Italian by birth, lived mo6t of his life in Spain, where he be came a great favorite of the Madrid court circles. This symphony starts with a warm hearted and singing firs* allegro, then a beautiful andante amoroso is fol lowed by a "tempo dimenuetto,” which Is eminently worthy of the man who created what is probably the most fa mraic minuet in the world. The finale is of brilliant gaiety. "Concerto in D Minor”-Bach 1 HE Bach concerto was originally a violin concerto and is played lr the Busoni arrangement. It often happened in Bach’s time that certain works were used for com binations of different instruments. This makes the traditional indigna tion against any transcription a rather ridiculous affair, as certainly the pontiffs would naturally be too full of respect to deny the authority of such a master as Bach, cr Vivaldi, or Handel—who sinned constantly in this direction. I think that the entire first half of this program will be new to our Wash ington public. Egon Petri, at one time Busoni’s greatest pupil and one of the great pianists of the day, will interpret both the Bach arrangement and the origi nal work of his distinguished master. "Indian Fantasy”.Busoni "THE Busoni “Indian Fantasy” is another work which is rarely heard. Those who have read the re cent articles and biographies which have appeared about Busoni know that here is one of the most intri guing of modern musical personali ties, a man who has created more in the way of a sincere attitude among the younger composers than any of the other masters of the day. These younger ones, although they might be influenced by momentary tendencies if fashionable modes, quickly returned to the more serious aspects of the arts as presented by Busoni; that is tc say, those who are at all worthy of their callin as artists. Busoni himself was a curious mix a# Aarv T.oHnkm onH (tfirman thoroughness, of intellect and temper ament, of nearly every contradictory element of which artists are composed, ft was his strength and at the same time his tragedy. Although undoubt edly the greatest pianist of his day, be was considered by many as not possessing enough "feeling”—this being due to the fact that several generations had been Influenced by the overemotional, all too sentimental virtuosi of the ro»tantlc kind who made the hearts of virtuous eoncert joing maidens beat more rapidly, but who were not in reality the ideal medium between great music and the public. Busoni, with his superb attitude of i nearly priestly approach towards bis art, with his rasor-like dissection pf the works he played, was not the man for this peculiar sort of hero worship. The same held good in his compo sitions. He considered that the ideal artist should never do anything the some way twice. And although this, of course, is undoubtedly the Ideal attitude of the greatest ones, it can only be maintained by one who is in tellectually in constant command of his faculties. Leonardo da Vinci was of that caliber, and his fate of leaving a comparatively small output because of constant dissatisfaction is in a larger way somewhat similar to that of Busoni, whose intellect rebelled against a kinship of the instinct and the emotions over what should < be the higher and controlling faculties. This comes to the fore in several of his works and has often been the cause of misunderstanding on the part of his auditors, and of tragedy and despair in his own creative ex istence. But the example of his inflexible and noble attitude toward his art has been the greatest inspira tion. as I said above, for all those disciples worthy of the name. The present work was written by Busoni during the period when he interested himself in North American Indian music. His interest had been aroused by Miss Natalie Curtis, a well known authority, who also furnished him with the melodic material for this interest composition. -Prom "Die Meistersinger,” Prelude to Act III. Prom ‘Gotterdammerung,” "Gesang der Rheintochter”_Wagner 'J'WO Wagner excerpts will conclude the program. The first one is the prelude to the third act of “Die Meistersinger.” In this prelude Hans Sachs, the wise Mastersinger, contem plates the world and its trouble and, through the kindliness of his philo sophic outlook and his noble under standing brings light into the dark ness. Wagner’s genius has succeeded in making this heard in the prelude, which, therefore, is one of his most human utterances. —-« -- , Iturbi With Philadelphia Orchestra Spanish Pianist and Conductor Has Had Amazing Success. THE popular Spanish pianist and conductor, Jose Iturbi, will be heard here on March 12. when the Philadelphia Orchestra plays its third concert at Constitution Hall, Iturbi »as born in Valencia, where the oranges ripen for Christmas and where the Saracenic tiles recall the days of Moorish kings. Jose was a child prodigy. At 7 little “Pepe,” as he was called, was studying and teach ing pupils three and four time* his age and giving concerts before amazed Spanish audiences. In Valencia the boy studied at the local conservatory and later was sent to Barcelona to work under Joaquin Malats. The people interested in his career sent him to Paris. Those were hard days for Iturbi. He studied at the conservatory all day and played in the cafes of the boulevards at night for nis room and food. But at 17 he was ; graduated with first honors. | While playing at a fashionable hotel under an assumed name, he was ; called to the telephone by one who ) had followed his career, and to his great surprise was offered the posi tion as head of the music department of the Conservatory at Geneva, the post once held by Liszt. After a stay | of four years in Switzerland, Iturbi I left to embark on his chosen life— ; that of a virtuoso. The Spanish pianist arrived in j America for the first time in October. 1 1929, and since then he has returned every season to a sensational career. I He has played more concerts in this I country during this time than any other pianist since Padereweski. The program will be the Beethoven "Concerto in C Minor (No. 3),” for piano and orchestra; the Weber over, ture, "Oberon”; Warner’s "Funeral March” from "Gotterdammerung” and “Liebestad" from "Tristan und Isolde." After that will be heard "Two Nocturnes,” by Debussy, and as a finale, De Falla’s three dances from “The Three-Cornered Hat." Tickets are on sale at the T. Arthur Smith Concert Bureau, 910 G street northwest. Chorus in Annual Recital. 'J'HE Adult Department Chorus of Calvary Baptist Sunday school will give its seventh annual concert Wednesday at 8:15 p.m. in Woodward Hall, Greene Memorial Building, Eighth and H streets ljorthwest. The concert will be under the direction of Andrew Clifford Wilkins, with Mrs. Glen Edglngton at the piano. Howard Mitchell, first cellist of the National Symphony Orchestra, will be guest artist. Mr. Mitchell was the winner of the national contest for cellists held by the National Federa tion of Music Clubs in 1929. He was a member of the Philadelphia Sym phony Orchestra before joining the National Symphony Orchestra about three years ago. ' He graduated from th» Curtis Institute of Music in 1935. Mr. Mitchell will play two groups of solos, accompanied by Sol Sax, pianist * of the National Symphony Orchestra. Sixteen sopranos of the senior de partment of the Sunday school will sing the solos in two of the selections on the program, which will consist of both sacred and secular selections. Including arrangements for female and for male voices, in addition to those for mixed voices. ISipr g«=*Sfo*art — SOPHOCLES PAPAS ''ssuLtis jss'BxEffivii" Orchestra Practice with the Columbia Clubs SUte and Radio Technlqn*. ANDRES SEGOVIA METHOD Send Jor literature. SSS ITU St. N.W. National S88S if'