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Evening star. [volume] (Washington, D.C.) 1854-1972, November 20, 1937, Image 18

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Beauty in Music Shown
To Listeners’ Group
Growing Assemblage Obtains
Power of Appreciation
Under Choral Union.
By Alice Everstnan.
WHAT musicians, manager* and artist* do not fully realise is that
there is a large section of the population that likes music but i*
not educated in appreciation of its beauties. For many, the only
opportunity to hear or take part in music lies in the church choir,
and there is another large number who would like to visit concerts but are
completely baffled by music which they cannot understand, because they have
or no f/M lodo t inn An mkinU 4aA
Judge it. Recently two noteworthy ef
forts have been made to reach and
help these groups, one in the formation
of the National Choral Union with its
completing organization, the Church
Music Society, and the other in the
Layman's Music Course, now being held
to Barker Hall every two weeks.
The National Choral Union has for
He objective the betterment of church
music in choirs, and in the nature of
its organization is without denomina
tional significance. It was founded last
year under the direction of Hugh Ross,
a man of wide experience, not only in
this particular branch of music but
in various activities of a musical na
ture. For many years conductor of
the famed Schola Cantorum of New
York, he knows how to teach groups,
and through his associations with
choral societies is eminently fitted to
gain the most artistic ends with mini
mum of effort.
It is his object to show both choir
directors and choir singers how to give
the most devotional services as well as
to broaden their concept of religious
repertoire. The response last year
was most gratifying, and this year the
membership has increasel without !
limit to denominational leanings.
J-JAVING accomplished so much, the
idea was borne in to the commit
tee in charge that, after all, they were
reaching only a particular number of
those interested in church music, but
overlooking another important unit,
the congregation. Here are the people
who listen Sunday after Sunday to the
music selected by the choirmaster,
some of them actively interested in the
type of music being chosen and others
only participants in the congregational
singing. But the congregational sing
ing is of the utmost importance, a
powerful factor for religious expres
sion and carrying an appeal that is
too often lightly estimated. In order to
bring unity into the musical services of
the churches and to have the aim to
ward better music understood by all,
an affiliated group of the Choral Union
has been organized, called the Church
Music Society.
As Mr. Ross says, ‘ Most musical or
ganizations suffer from the fact that,
though they work very nicely by them
selves. they have trouble finding an
audience which can take Its share in
what they are doing."
Since the choirs which belong to
the Choral Union not only provide the
special music of the services, but lead
In congregational singing, it is neces
sary that both units work together
in this splendid plan of improving the
standards of church music. With I
this newly formed Church Music So
ciety, the members of the music
committees and those of the congre
gation for whom the musical part of
the service is of prime interest, can
learn what kind of music constitutes
the best repertoire of the church,
what makes it so, and finally how to
give full expression themselves in
the congregational singing to the deep
religious feeling they experience.
J-JOW to accomplish these ends for
the Church Music Society has
been worked out as follows: The first
step Is a lecture on the history and
development of hymns, after which
there is a demonstration of how the
congregation should sing to get the
most out of the hymns. A second
evening is given over to the liturgical
music of an evensong service, with a
chosen choir to give a program to
emphasize the points of good singing
of this particular ktyle: and finally.
«n a third evening, a Bach cantata is
sung to show the congregation the
superlative development of church mu
sical composition.
Reaching out to help a still greater
number of people is the Layman’s
Music Course, originated by Olga
Samaroff Stokowski and now being
conducted by her eminent assistant,
Harriet Johnson, at Barker Hall. The
aim of this unique course is to teach
the ordinary individual how to listen
to music. The reason for the forma
tion of this instruction is an interest
ing one. Some years ago, Mme. Sa
maroff temporarily laid aside her pub
lic playing in order to become a
Concert Schedule
Tomorrow.
National Symphony Orchestra,
Dr. Kindler, conductor; Glenn
Oarow, pianist; Howard Mitchell,
cellist, soloists, Constitution Hall,
4 p m.
Juanita Claxon. soprano; Mar
garet Tolson, pianist; Roosevelt
Hotel, 9:30 p.m.
Lecture-recital, Irma Goebel
Labestille, University Women's
Club, 8 p.m.
Monday.
“The Barber of Seville,” Con
stitution Hall, 8:30 p.m.
Pro Musica Quartet, Phillips
Memorial Gallery, 5 p.m.
Agriculture Chorus, Robert
Frederick Freund, director; Ag
riculture Auditorium, 5 p.m.
Dr. Kurt Hetael, Bach lecture,
musical program by pupils of
Mme. Louise Coutinho, St. Rose's
Technical School. 7:15 p.m.
Army Band, Army Auditorium,
6 pm.
Tuesday.
Agriculture Chorus, Robert
Frederick Freund, director; Ag
riculture Auditorium. 8:30 p.m.
Charles E. Gauss, organ recital,
assisted by Erna Embrey, so
prano; Fred Eden, baritone; Trin
ity M, E. Church.
Marine Band, Marine Barracks,
3 p.m.
Soldiers’ Home Band Orches
tra, 5:30 p.m.
Wednesday.
National Symphony Orchestra,
Dr. Hans Kindler. conductor;
Constitution Hall, 8:30 p.m.
Marine Band, Marine Barracks,
1:30 p.m. Symphony concert,
Marine Barracks, 8 p.m.
Thursday.
Marine Band. ^Thanksgiving
service, Washington Cathedral,
10:30 am.
Army Band, Army Auditorium,
4:30 pm.
Saturday.
Army Band, Army Auditorium,
11;30 a m.
Soldiers’ Home Band Orches
tra, 5:30 p.m.
music critic of one of the prominent
New York newspapers. Attending con
certs and listening to them from her
highly cultured standpoint, she be
gan to wonder how a less fortunate
music lover heard this music and if
he could profit fully without her spe
cial background. It was then that
she planned a course in which listen
ers would be given the fundamental
points that would aid in clearifying
much that would remain obscure.
After experimentation in the Juilliard
Graduate School of New York until a
condensed working method could be
established, the course was organized
in May, 1933, with a specially trained
staff of assistants.
'J'HE pleasant part about the course
is that one need know nothing
about music in order to join. Whatever
is necessary as a foundation is given
progressively and illustrated with lan
tern slides, phonograph records and
piano demonstration. There is nothing
cut and dried in the material, and
although the programs of the National
Symphony and different musical forms
are used for discussion and analysis,
it is done in a manner to educate the
listening faculties. Miss Johnson has
the personality to make these study
periods interesting, and the enthus
iasm which has attended her sessions
in various cities testifies to her success.
It seems that all excuse for back
wardness in musical appreciation is
being steadily removed from this city.
Heretofore, opportunities outside those
offered by the music school were rare,
and people had to struggle along by
themselves if they wanted to know
more about music. Real music under
standing has been too long the pos
session of only the limited class that
could follow a regular course of in
struction. Now, however, with the
establishment of these two groups,
the National Choral Union and its
associated Church Music Society and
the Layman's Music Course, the future
promises better music in religious serv- l
ices, through the united efforts of
choirs and congregations, and a finer
understanding of the beautiful pro
grams being given by artists and or
chestras during the Winter by a larger
group of people who realize how uplift
ing the association with music can be.
-- i
Roland Hayes to
Give Song Reeital
Roland Hayes, celebrated Negro I
tenor, will give a song recital at the
Armstrong High School Auditorium on i
Fridav evening, December 3, at 8 30
o'clock.
The life and career of Roland Hayes
is one of struggle and achievement.
From barefoot boy. guiding a bullock
drawn plow on the Georgia farm of
his widowed, slave-born mother Ro
land Hayes toiled his way to the
heights of world-wide musical fame.
While he earned his living and helped
support the rest of his family he
studied music, voice production and
song interpretation. He was iron
foundry helper in Chattanooga, waiter
in Louisville, office boy in Boston. He
gave song recitals and lost his savings
on them. But indomitably he re
turned for a hearing before the con
cert world, until he triumphed in re
cital in Boston's Symphony Hall, with
its exacting public. From that time
Roland Hayes has been a living chap
ter in musical history.
In London, the English critic, Ernest
Newman, stated that this American 1
Negro was "the only tenor I have
found worth listening to this season."
Hayes was summoned to Buckingham
Palace to give a "command perform
ance" before the late King George V
of England.
Mercado's Mexican
Orchestra to Play
Angell Mercado and his brilliant
Tipica Mexican Orchestra perform at
Constitution Hall on Monday evening,
November 29, giving a program in
cluding examples of the folk music, in
strumental, vocal and dance, of eight
different Latin American countries,
Mexican music of concert sort and
typical Mexican folk song arrange
ments.
Players in the ensemble number 15
anti among the instruments are
piano, violins, guitars, salterii, cello
and bass, flute, clarinet, muted comet,
and percussion effects with reed mu
tation of portable harmonium type.
They appear in the colorful Mexican
cowboy costume.
The ensemble boasts fine soloists—
the soprano, Lolita Valdez; a dramatic
tenor, Jose Rubio—and the foremost
Mexican dance team in the concert
field, Luis and Josefina Ojeda.
Tickets are available at Kitt’s, 1300
G street. Benefit tickets to help the
blind, sponsored by the Lions Club, at
the Morris Plan Bank. Mayflower Ho
tel, Keystone Auto Club and Wardman
Park Hotel.
joint concert.
PLENA DE SAYN, violinist, and
Grace Carroll, pianist, who will
give a joint recital on Wednesday
evening, December 1, at 9 o'clock, will
play among other numbers the “Poeme
Lyrique,” by Nicholas Tscherepnine,
which will have its first performance
in Washington.
The concert will be held under the
auspices of the Slavic-American
Society of Music and Pine Arts for
the benefit of the endowment fund
of the society at the residence of Mrs.
J. J. Mack. A limited number of
tickets for non-members are on sale
at Mrs. Dorsey's concert bureau.
— -•..
Latin Recital.
A/I ME. IRMA GOEBEL LABAS
TILLE, pianist, lecturer and
critic, will appear in a recital of Latin
American music at the clubhouse of
the American Association of Uni
versity Women tomorrow evening at 8
o'clock. Inspired by the haunting
melody of an old Haitian work song
floating out on the evening air, Mme.
Labastille spent five years in extensive
travel and research, taking down the
melodies of little known regions and
gathering material for her concerts
on South American music. In her
recital, with commentary, she will
sketch the background for her music.
Local Artists and Operatic Soprano Featured This Week
v.v.-.-. .... _
FAt left are the two local artists who will appear as soloists
with the National Symphony Orchestra in tomorrow's program
at Constitution Hall, above. Howard Mitchell, first cellist of
the Symphony, who will play Boellmann's "Symphonic Varia
tions.” and below', Glenn Carow, brilliant young pianist, to be
heard in Mozart's "Concerto in A Major.” At right is the lovely
coloratura soprano, Margarita Salvi, taking the leading femi
nine role in the operatic performance of "The Barber of
Seville” on Monday night at Constitution Hall.
Don Cossack
Singers to
Be Heard
Jaroff’s Russians
Coming Here
In Concert.
The Don Cossack Russian Male Cho
rus, under the inspired and fascinating
leadership of its conductor, Serge
Jaroff, comes to Washington next Sun
day afternoon, November 28, at 4
o'clock, for its eighth consecutive
concert in the Capital. As usual, the
singers will appear at Constitution
Hall under the management of Dor
othy Hodgkin Dorsey, and, as usual,
a capacity audience is expected to
greet them.
In accordance with their custom,
the Cossacks will divide their pro
gram into three parts—Russian church
songs, folk songs and soldier songs.
This year the program is entirely
new. all selections being new to Wash
ington audiences.
The Cossack Chorus is composed of
36 former cavalry officers of the Rus
sian Imperial Army who remained
loyal to the Czarist regime at the time
of the Russian revolution, and who
eventually found themselves in a pris
on camp near Constantinople, where
they dispelled the nostalgia and mis
ery of their lot with vocal choruses.
Jaroff. the conductor, early came to a
realization of the musical possibilities
inherent in their singing and through
his efforts they have attained world
wide recognition as one of the most
popular choruses ever organized.
The Don Cossack Russian Male Cho
rus gave its first performance in
Washington on December 13. 1930. and
appeared here twice more under the
management of the late Mrs. Wilson
Greene. The Cossacks came under
Mrs. Dorsey's management in 1933 and
have given four consecutive perform
ances under her auspices. Next Sun
day's performance will be their fifth
appearance with Mrs Dorsey and
their eighth in the Capital. Arrange
ments have already been made for
presenting the Cossacks here next sea
son for their ninth consecutive con
cert in Washington.
Seats for the Cossack concert next
Sunday may be obtained at Mrs. Dor
sey's Concert Bureau, in Droop's, 1300
G street N.W., or at Constitution Hall
next Sunday after 10 a m.
Two noted instrumental artists are
announced for concert appearances in
Washington next month under Mrs.
Dorsey's management. These two
artists are Jose Iturbi, the eminent
Spanish pianist and conductor, who
will play a full-length piano recital at
Constitution Hall on Sunday after
noon, December 5. at 4 pm, and Fritz
Kreisler, the distinguished Austrian
violinist, who will be heard in full
length recital at the same auditorium
on Tuesday evening. December 7, at
8:30 o'clock. Tickets may be ob
tained for both recitals at Mrs. Dor
sey's concert bureau.
CHORUS TO SING
AT DEPARTMENT
'J'HE Agriculture Chorus will present
Maunder's "Song of Thanksgiv
ing" in the Agriculture Auditorium
Monday afternoon at 5 and Tuesday
evening at 8:30. Rev. Oliver J. Hart,
rector of St. John's Episcopal Church,
will speak at the Tuesday evening per
formance. Soloists will include Pru
dence Jackson, May Delle Sandstrom,
Mrs. E. L. Warren, Hilda Nelson and
Mildred Moore, sopranos; Ralph Mars
ton and Walter Redit, tenors, and John
M. Wilson, Roy B. Gray, Clifton S.
Hall and Clarke A. Paulsen, basses.
Robert Frederick Freund will direct
and Victor Neal will be at the piano.
The public is invited.
Herbert Revival.
jpRIDAY and Saturday. December 3
and 4, will witness the latest re
vival of Victor Herbert's operetta
“Sweethearts,” by the Columbia Light
Opera Co. There will be two even
ing performances and a Saturday
matinee, given by a company of 70,
under the direction of Ethel Manning.
The Rialto will house the perform
ances with enlarged stage and in
creased seating capacity. Fresh new
scenery and costumes will form the
visual background for this company.
The silver anniversary of the world
premier of “Sweethearts” will take
place next March. It was first given in
Baltimore in 1913, under the personal
direction of its composer. It imme
diately captivated its auditors, and
has retained its grip upon the hearts
of music lovers ever since.
Ticket prices for this limited en
gagement have been kept within a
popular scale. The tickets are avail
able at the T. Arthur Smith Concert
Bureau, 908 G street. The produc
tion is under the management of
Howard E. Severe.
Thelma La Dow, lyric soprano, wais
engaged as the soloist of the evening
for the birthday anniversary party of
Lebanon Chapter, O. E. Sr, on Tuesday,
November 9. and was accompanied by
Laura Wallace.
Opera Stars to Sing
In Rossini Work
“Barber of Seville” Has
Monday Performance
In Washington.
THE Rav Rossini comedy opera "The Barber of Seville ' will be presented
in Constitution Hall Monday at 8:30 p.m with a cast headed by
Margarita Salvi and Pompilio Malatesta, generally recognized as the
greatest interpreters of the roles of the beautiful Roslna and her
guardian, Don Bartolo.
Salvi, who formerlv sang with the Paris Grand Opera and the La Scala
Vine K/wm Kh A i-tneo
Toscanini as one of the greatest col
oratura sopranos he had ever heard
in “The Barber of Seville.”
Figaro, the happy barber himself,
will be sung by Baritone Angelo Pilotto
j of the Chicago City Opera, who ap
peared here last month in the title
j role of “Rlgoletto." To Figaro falls
| the opera's most popular aria, the
"Largo al Faftotum." in the opening
| scene. Other high points in the opera,
in addition to the famous overture
which is frequently played in concert,
' will be the celebrated coloratura aria
j “Un Voce Poco Fa” and the well
: known music lesson scene, in which
| Miss Salvi will follow' tradition and
sing an aria of her own choice—the
“Polonaise” from “Mignon.”
Salvi has always been a great favor
! ite in the role of Rosina, which she
1 has frequently sung in this country
with Tito Schipa and Chaliapin,
j Monday, however, she will sing with
! Rolf Gerard, the young tenor of the
San Francisco Opera, who scored a
j brilliant success here two years ago as
| Alfredo in “La Traviata ” Malatesta,
j the veteran comic basso of the Metro
l
politan Opera, made his debut in the
part of Don Bartolo with the great
Adelina Patti. Since then he has
appeared with almost every coloratura ■
soprano of note in the same role, ;
including Barrientos, Tetrazzini, Galli- !
Curci and Lily Pons.
Clelia Flora vanti, popular local
mezzo soprano, will be presented in
the role of Bertha. The basso part of
Don Basilio will be sung by Lloyd
Harris of the Cosmopolitan Opera Co.
The singers will be accompanied by
a group of Metropolitan Opera choris
ters and an orchestra of 40 Washington
Symphony musicians. The harpis
chord recitatives will be played by
Frederick Longas, pianist-composer
and assisting artist to Tito Schipa.
The opera is under the artistic
direction of Amelia Conti of the
Metropolitan and Chicago Operas, and
will be directed by Maestro Fulgenzio
Guerrieri of the San Carlos Opera
Attractive sets for the performance
have been designed by Paul Arlt.
Tickets are on sale at Kitts Music
Store, 1330 G street N.W.
-1
! In Local Music Circles
;
REHEARSALS for the presenta
tion of "The Gospel Accord
ing to St. Matthew,” by J. S
Bach, commonly called “The
St. Matthew Passion,” are tinder way
by the Washington Choral Society,
under the direction of Louts Potter,
to be sung at the Washington Cathe
dral on Bach's birthday. March 21, at
the request and upon invitation of the
Cathedral officials.
The chorus of 125 Washington sing
ers of the choral society will be aug
mented to 200 voices for the "St.
Matthew Passion" music, and all sing
ers desiring to become members of
the choral society are invited to at
tend auditions on Tuesday evenings
this month at 7:30 at Central High
School, where the society holds its
weekly rehearsal periods.
There are a number of small solo
parts in the "St. Matthew Passion,”
and Mr. Potter will use a number of
Washington gingers for these parts.
Auditions for these solo parts will be
held in the near future.
i nr nepanirfiu oi music, mourn.
Vernon Place M. E. Church. Deane
Shure, director, announces a series
of four lectures entitled "Two Thou
sand Years of Music” in connection
with the regular classes in music ap
preciation meeting each Tuesday at
5 o’clock. The first one will occur
Tuesday at that hour. These lessons
will be given by Edward C. Potter,
nationally recognized musicologist, and
will cover the period 400 years B.C.
up to and Including the era of Bach.
All lectures will be Illustrated with
recordings. A small fee will be
charged to cover expenses. The pub
lic is invited.
The choir of Trinity M. E. Church
presents Charles Edward Gauss, A.
A. G. O., in an organ recital, assisted
by Erna Embrey, soprano, and Fred
J. Eden, baritone, on Tuesday eve
ning at the church, Fifth and Seward
square S.E. Mr. Gauss is organist
and choir director at Grace Reformed
Church. He will play numbers by
Bach, Franck. Clokey, Vierne and
Rogers. Mrs. Embrey and Mr. Eden
are members of the quartet at Calvary
Baptist Church.
A series of lectures for piano
teachers will be given by John Thomp
son, director of the Conservatory of
Music in Kansas City, Mo., at the
Homer L. Kitt on Monday, Tuesday
and Wednesday morning at 9:30
o'clock. There is no charge for at
tendance.
Dr. Thompson is a pedagogue of a
concert artist's caliber touring the
country for the purpose of holding
normal classes for teachers. He is
the active director of the Conservatory
of Music of Kansas City, and a
lecturer much in demand with the
National Association of Music Teachers
and numerous other educational
groups.
All Souls' Church (Unitarian! an
nounces the formation of a new quar
tet for its regular Sunday services.
This quartet consists of Mrs. Henry
T. Parrett, soprano; Kathryn Sale !
English, contralto: George Irving
Chandler, tenor, and Charles Trow
bridge Tittmann. bass: with Lewis
Corning Atwater, organist and direc
tor. Mr. Atwater has resumed his
Sunday afternoon organ recitals at 5
o'clock and today will play a program
of Cesar Franck music. He will be
assisted by Mrs. Parrett, who has been
a pupil of Lilli Lehman of Berlin and
recently soprano with the Chicago
Grand Opera Co.
Felicia Rybier, pianist, formerly of
Washington, was presented in a piano
recital on Saturday, November 13. at
the Musical Retreat Club of 254 West
Seventy-fifth street. New York City.
Miss Rybier played compositions by
Chopin, Paderewski, Rozycki, Turina,
Mana-Zucca, Albenlz and De Falla.
Tomorrow evening, beginning at 8
o'clock in the Mount Pleasant Congre
gational Church, the first musical serv
ice of the season will be given. The
Mount Pleasant Chorus, under the
direction of Norton M. Little, with
Claude Robeson at the organ, will ren
der Sir Joseph Barnby's cantata, "Re
bekah.” The solos will be sustained by
Evelina Evans Clinchy, soprano; Ray
mond T. Pigott. tenor, and Carroll E.
Robb, bass. The public is cordially
invited.
The combined senior and young peo
ple's choirs of Calvary Methodist
Church, Columbia road near Fifteenth
street N.W., will give the cantata,
"Song of Thanksgiving,” by Maunder,
tomorrow evening at 8 o’clock. The
soloists will be Ruby Potter, soprano;
Bertha Morgan, contralto; Merle
Gates, tenor; George Stonebraker,
baritone, and Joseph Wells, bass. The
accompaniment will be sustained by
Catherine, Whitlock, pianist, and Louis
Potter, organist, who will also conduct.
The public la cordially invited.
Louis Krasner
Is Stokowski
Soloist
Will Play Concerto
At Concert Here
November 30.
Louis Krasner, violinist, w ill appear
as soloist with Leopold Stokowski
when the Philadelphia Orchestra pre
sents its second concert of the season
on November 30, at Constitution Hall,
playing a concerto by Alban Berg j
Louis Krasner was born in a little
town of Cherkassy, on the Dnieper j
River in Russia, in 1903. His parents j
brought him to this country when j
he was a child and it was here that !
he had his schooling. In the spring
of 1935 he approached Alban Berg in
Vienna with the suggestion that he
write a violin concerto. For several
months the composer’s thoughts did
not take definite shape. In May !
there came to him the affecting news
of the death in Vienna of a friend
to whom he was tenderly devoted, the i
youthful Manon Gropius, who was 1
the daughter of Gustav Mahler's
widow. She had had to suffer tor
turing pain and had endured it. with
great fortitude. The concerto took
hold of Berg's imagination as a
requiem for Manon. It was dedicated
to Mr. Krasner.
Word has just been received from
the Philadelphia Orchestra that Fer
nando Germani. the organist, who
was to be soloist on November 30. will
not appear. The program will in
clude the Bach ‘ Prelude and Fugue
in E Minor.” transcribed by Leopold
Stokowski: Brahms' "Symphony No.
t in E Minor,” Berg's "Concerto for
Violin and Orchestra” and excerpts
from Moussorgskv's 1 Boris Godunov,”
freely transcribed by Leopold Sto
kowski.
WENTWORTH GROUP
IN -ROBIN HOOD**
qne of the most popular American
light operas. "Robin Hood." by
Reginald rie Koven and Harry B
Smith, will be presented by the Es
telle Wentworth Opera Group on De
cember 8 in Roosevelt High School
auditorium, under the auspices of the
Community Center Department. It j
will be staged and directed by Miss
Wentworth, who was formerly a mem- ,
ber of the famous Bostonians and sang j
the role of Maid Marian many times
with that organization.
J. Edmund Veitch, well known here
in dramatic circles, will piay the part |
of the Sheriff of Nottingham. Others
in the cast will be Ray Baine as Robin
Hood, Melville Veitch as Little John.
Mary Yeide as Will Scarlett, Richard
Hill as Guy of Gisborne. Harry Crow
as Friar Tuck. Nina Normajr as Maid j
Marian, Virginia Weedon as Annabel.
Dorothy Meek as Dame Durden and
Alice Brennan as Alan-a-Dale, to
gether with a chorus of 45 trained
voices.
—-•
SONGS AND PIANO
AT THE ROOSEVELT
JUANITA CLAXON, soprano, with
‘ Margaret Tolson, pianist, will be
heard in a program at the Roosevelt
Hotel tomorrow evening at 9:30. Both
Miss Claxon and Miss Tolson appeared
in the Roosevelt Sunday evening
musicals last season. Miss Claxon is
one of Washington's young singers
who has done extensive church work
and had many radio appearances.
Miss Tolson has appeared extensively
in concerts and is well known to the
musical contingent of Washington.
PRO-MUSICA FOUR
TO OPEN SERIES
'T'HE Pro-Musica Quartet of the
Washington Chamber Music So
ciety will present the Haydn “Quartet
in D, Opus 20, No. 4,” and the Dvorak
"American Quartet, Opus 96," at the
first of the series of concerts to be
given on Monday at the Phillips Me
morial Gallery at 5 p.m.
Tickets may be obtained from the
sponsors or from Mrs. John M. Stem
hag en.
Symphony Comments
Made by Dr. Kindler
Two Programs to Be Given
Sunday and Wednesday
By Orchestra.
By DR. HAN’S KINDLER.
EVERY city which prides itself on a musical, and indeed a cultural atmos
phere, should foster and have pride in its local products. More than in
any other city in America that I know of this civic, artistic pride has
found expression in Chicago. Due to its Indefatigable conductor
Frederick Stock, and the splendid backing this artist has received for a period ‘
of over 30 years, he was enabled in his turn to foster local art and artists. The
results can make Chicago proud. We* , _
neea Dut minx oi jonn Alden Carpen
ter, Leo Sowerby, Felix Borowski. Eric
DeLamarter, Robert Sanders, David
Van Victor; of the Thomas Orchestra
itself; of Jacques Gordon, the violin
ist; of Alfred Wallenstein; of its
conservatories; of its Ravinia Park
opera and concerts to see what these
activities can eventually amount to
and result in. Thus the soil for the
eventual seed of genius will become
fertile.
To prepare this soil, to faster interest
and enthusiasm is a hard task. It
needs courage and persistence. The
tendencies on the part of the public ,
are not always thase of open-hearted
welcome. The foreign product Is often
received with more acclaim, for no
other reason than that it is foreign.
Hence, I hope that for the concert of
this Sunday we may count at least on
the approval of the tendency to give
the younger artists right in our midst
a hearing, since I think that both of
our soloists are worthy of it.
rJ"HE first is Glen Carow, who will
play one of Mozart's lesser known,
but most charming works.
The second one is Howard Mitchell,
first cellist of the National Symphony
Orchestra, who will play the "Sym
phonic Variations" by Boellmann. at
one time one of nearly every cellist's
favorite “war horses.” The composi
tion is what the name implies, and is
in what I would call an early Debussy
style.
The purely orchestral works will be:
First, a "Suite for Strings” by Purcell,
arranged by Albert Coates, in five
movements—Rondeau, Slow Air, Air, \
Minuet and Allegro quasi presto. 1
After the Mozart we will play a "Pas- 1
saeaglia and Fugue" by a young
Chicago composer—a modern, but not
hyper-modern work of strong indi
vidual aspect. And. for a finish, the
waltzes from “Der Rasenkavalier” by j
Richard Strauss. Strauss himself,
after having finished this work, said:
"I wanted to write a work in a modern
Mozart style. I think I have suc
ceeded.” Only time will tell, but
certainly the popularity of the !
Rasenkavalier. and especially of these
waltzes, is by now world-wide and i
indisputable.
Wednesday we will begin the
concert with one of Mozart's nu
merous and lesser-known overtures, '
the Overture to “Cosi fan Tutte."
sparkling with animation It begins
and ends with a humorous quotation
from the opera: “Cosi fan Tutte"
(that's the way women do it).
The Vaughan Williams “London”
Symphony is highly descriptive and
at the same time “pure music.” I
mean with this that although large
parts are quite definitely connected
with London scenery, with street cries
and local atmosphere, with the sounds
of the London hurdy-gurdy and the
tap of policemens’ sticks, and what
not, still the music, even without these
commentaries, remains intelligible in
and by itself.
For the information of the listener,
however, it may be interesting to
know that the introduction represents
daybreak by the river. London still
asleep, the Thames flows calmly under
the heavy grey dawn. In the hushed
stillness of early morning we hear
Big Ben." Abruptly the scene
changes. The turmoil of street life
and traffic starts—a gav picture, puls- j
atmg with life. After a great climax, !
the noise suddenly ceases, and we !
seem to step into one of the little, |
quiet, side streets—turning away from
the bustle of the city, shut off as if by
magic. But before long we return to
it. Every now and then a touch of
something fiercer penetrates, some
thing inexorable, which life in a great i
|
Symphony Programs.
The complete program for the
cohcert tomorrow afternoon at 4
o'clock by the National Symphony
Orchestra. Dr. Hans Kindler, con
ductor; Glenn Carow, pianist, and
Howard Mitchell, cellist, soloists, ’
is as follow’s:
'Suite" Purcell
"Concerto in A Major iK 4**‘
Mnrart
Soloist. Glenn Carow, pianist.
"Passacaglia and Fugue" Van Vactor
<Intermisson t
"Five Miniature*" White
"Symphonic Variation* Bneilmann
HoloiKt. Howard Mnchell rplh*'
Waltzes, ' Der Rosenkavalier Strap**
Wednesday's Program Is as
Follows:
Overture. "Cosi Fan Tutte" Mozart
' A London Symphony" William*
'Intermisson i ■
From ' Gotterdammeruna" Wagner
Song ot the Rhine Daughters '
Siegfried * Funeral March
• Capriccio Espagnoi
Rimsky-Korsako*.
city makes one realize Still, in the
end, the music represents that m.<
ture of good spirits, of heartiness
which is characteristically London .
rI'HE second movement brings one
a mood of Bloomsbury, of twi
light in November, of something
ghostlike. The rap erf a policeman's
stick is heard, and it breaks this mood.
We hear an old musician piay the fid
dle in front of a "pub." and there 1.4
tragedy in this music. In the distance
we hear the cry: "Sweet lavender?" *
It comes nearer, and dies away again.
The gloom deepens, accentuating the
melancholy. Towards the end we
hear once more the old musician, still
playing his pathetic little tune
The third movement, called "Scher
zo Nocturne.” is a Coster-jig in the
slums on a Saturday night. We seem
to hear the distant laughter of the
crowd, but also, every now and then,
what sounds like cries of suffering.
Suddenly a eoncertine breaks out above
the rest and we hear a few bars of a
hurdy-gurdy, softened by the distance.
Suddenly the music changes, and one *
feels the mood of the Thames, silent,
mysterious, touched with traged*
Fog seems to come down, making
siumiana ana us noises seem remote.
Then the picture fades into silence.
The last movement deals with the
crueller aspects of London, the Lon
don of the unemployed and unfortu
nate. The very opening bars denote
tragedy and we soon hear a marchlike
theme, the march of those who are
crushed, of the army of the poor and
the hungry. We hear again the music '
of the first movement, but there arp
sharp dissonances this time. It is
London seen through the eyes of those
who suffer. The music ends abruptly.
After a short silence we hear ‘Big
Ben" once more, and the symphony
ends as it began, with the River
Thames, silently, the keeper of secrets,
shrouded in mystery.
'J'HIS music is English—as English
as London itself, and it speaks a
language which only an Englishman
and a great talent, a near-genius, like 1
Vaughan Williams can speak.
The second half of the program will
consist first of two excerpts from "Got
terdammerung"—the lovely song of
the Rhine daughters, and the music to
the death of the hero of Wagner s great
trilogy, probably the most impressive
funeral music ever written.
Then we will end on a gayer note,
with the "Capriccio Espagnol," bv
Rimsky-Korsakov. music of the mo>:
brilliant hue, with solo passages of
gypsylike character for different in
struments (violin, harp, trumpets, cello,
flute, clarinet) leading up to a fan
dango. a Spanish gypsy dance of ex
uberant power and brilliance.
Reviews of Recordings
By ALICE EVERSMAN.
With the issuance of a recording
by Jose Iturbi of Albeniz' “Cordoba.”
the Victor Co. announced its plan
to give out an album of piano selec
tions by this celebrated pianist during
the season. Such an album should
be a valued addition to a collection
for Iturbi has a style of his own
that combines an original technical
facility with deep, musical feeling.
It is easy to realize this from the
preliminary record issued this month
which is from a suite entitled "Cantos
de Espana” and which is reproduced
on two sides of a single disc. Iturbi's
warm tone, vibrantly heard in this
number, and his native knowledge of
the finesse of Spanish rhythm make
this a colorful record. It is change
ful with the seductiveness, the fire
and the brilliancy which is Spanish
music at its best and which only the
sympathetic interpretation of an artist
like Iturbi can present in its most
charming aspect. The ’•ecord shows
his versatile command of tonal shad
ings and his power for building tell
ing climaxes with supreme artistry.
The number of the record is 1.844.
It is always difficult to record a work
of any sweep on a single disc, but in
the performance of Gabriel Faure's
"Elegie.” by the Boston Symphony
Orchestra, Serge Koussevitzky con
ducting and Jean Bedettl, cellist, as j
soloist, this has been accomplished
Seldom has it been possible to choose
any number in which the Boston Sym
phony can be heard and confine r
within the comfortable space of the
two sides of a single record In the
"Elegie" admirers of the Boston Sym
phony have another interesting work
under the fine baton of Koussevitzky.
The character of the "Elegie" follows
the smooth, flowing style which Faure
has so often used for nostalgic compo
sition. Its mournful melody is beau
tifully spun out in the opening phrases,
as purely lyric as a poem, rising to
a climax of despairing sorrow, only to >
take up the theme again in a spirit,
of resignation. The melody is carried
by the solo cello, excellently and beau
tifully played by Mr. Bedetti. against
the softly sustaining background of
the orchestra. Sometimes a singlp
orchestral instrument steps out to a
duet with the cello. After a brilliant
technical passage augmented in sig
nificance by the full orchestra, the
dirgelike melody is again repeated,
dying away finally to a mere whisper.
This number, 14.577 in the catalogue,
has the appeal which the combination »
of a song by Faure, the beautiful tone
ot the Boston Orchestra and the
Cellist, Mr. Bedetti, must bring A
simple number, but one that ran create
a mood of revery at any time.
HETZEL TO TALK
Dr. Kurt Hetzel, who is well known
in Washington as an interpreter of
Wagnerian music on the piano, and as
an orchestral leader, will give a short
talk on “Johann Sebastian Bach,” as
the feature of a program which Mme.
Louise Coutinho will present in the
auditorium of St. Rose's Technical
School. 2200 California street N.W., at
7:15 p.m. tomorrow.
Illustrations of the works of Bach
and also of two of his sons, K. P. E
Bach and W. F. Bach, will be played
on the piano by Beall Ivrwry, John j
Earle, Christine Kelley. Mary Gyntie 1
Shipe, Madeleine Lurba and Egor
Shlopak. The program will open with
numbers by beginners, including Al
fred Diotti, Albert Young. Constance
Shipe, Barbara Croarkin. Thorla Jean
Hall (who will give readings), Cath
erine Marie Munter, Calliope Dra
copolis, Fiorenza Baldi, Mary Mar
garet De Burr, and Marion Flanagan
and the Rhythmic Orchestra. Godfrey
Munter, leader, with Miriam Leetch
and Nancy Callahan at the piano.
Students from intermediate and ad
vanced classes will close the program
with piano numbers by Patricia Shipe,
Helen Hudiak, Miriam Leetch and
Joann Croarkin.
-•
Betty Baum, pianist, was the soloist
at the first meeting of the Monday
Evening Club, which took place No
vember 15 in the auditorium of the .
Y, W. C. A.
Warren F. Johnson, Organist
Church of the Pilgrims
Sunday Evening
Toccata di Concerto ' Ia-mare
Variations on an Irish Melody Shaw
PUBLIC OMAN RECITALS
I sia HaiUiinyluu (Chaprl
16th St, Cx Columbia Rd. N.W. .
Mon., Wed., Fri.—8 P.M.
(No Collections)
_ Sy P. Sterling Wheelright
Armando Jannuzzi
Grand Opera Dramatic Tenbr
Voice Specialist
Italian Method
School of hoi eante
Adam* 3607-J
1519 Oak St. N.W. (Cor. 18th) •

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