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Events in the World of Art and Music of Interest to Washingtonians * Two of a number of mural paintings by Ezra Winter, depict ing characters in Chaucer’s “Canterbury Tales," installed in the reading room of the Library of Congress Annex, recently com pleted. The figures represent, left to right, the Doctor, Chaucer, the Lawyer, the Clerk of Oxenford, the Municipal and the Sailor. Chaucer’s Characters Live Again in Annex Murals Chariryng Series of Paintings Decorates New Reading Room At Library of Congress By Lqila Mechlin. Chaucer’s Canterbury pilgrims have come to town. In orderly pro cession they ride across the two long walls of one of the reading rooms of the new Library of Congress Annex. It is Ezra Winter, the well known mural painter, who has brought them to us by special invitation of David Lynn, architect of the Capitol, and a special committee of Con gress charged with responsibility for the building of the annex, its deco ration and furnishing. Apparently they have come gladly, and as good luck will have it, they are here to stay. The room in which these charming mural paintings have been placed—or more properly for which they were created—is rectangular and of generous proportions, with high ceiling and broad wall spaces. The 32 characters enumerated in the “Prologue” ride horseback down one side and up the other—16 to each—with just enough typical English landscape to give them atmosphere and background. The panels on which the horsemen are shown,-: me size, are eacn bu ieet in length, or, In other words, the procession Is 120 feet long. At the far end of the reading room, catching the reader's eye in stantly upon entrance, is a small panel, by way of introduction, show ing “Aprille with his shoures soote” piercing “the droghte of Marche to the roote.” or in the English of our day. pouring upon the thirsty earth a deluge of water which would seem to come from the clouded sky, but in reality is out turned from an earthen crock held beneath April’s arm. The landscape upon which this good gift falls is picturesque, new life is in its sinews, tijees are budding, grass springing up; two deer amble in the foreground; against the sky is seen a flock of birds. The composition is well bal anced and the allegory well carried out. At the near ena is anotner panel, at lunette, showing three wandering minstrels, a man and two boys seated on a knoll, playing gaily and lustily. The instruments upon which they play were undoubtedly those of the time of Chaucer, and It is not at all unlikely that the Canterbury pilgrim met many such playing by the wayside, for music then was the art of the common people and through this medium they were accustomed to make “merrie.” In any event it is to the music of these three, playing with such evident joy and abandon, that the Canterbury pilgrims, lately come to our city, will for all time step lightly forward en route to the 6hrine of the martyr, Thomas a Becket. Manner of Presentation. Of these pilgrims themselves much may be said, but first let us note the way in which Mr. Winter has pre sented them. His theme was by no means simple—32 figures on 32 horses moving forward—to be set . forth without either monotony or restlessness. Achieving this was his first success and one eminently notable. Then comes the triumph of keeping his figures on the wall (too often in such care are they in clined to step out of their supposedly flat plane) and in this instance this has been done without surrendering the third dimension. Finally there is the admirable color scheme, like a bouquet of spring flowers yet well balanced and never confused, achieving the simu lated effect of paint on plaster, al though in fact, they are done on canvas—a delight to the eye and a satisfaction to the senses. Obviously these mural paintings accord with the architecture of the room for which they were created, at the 1 same time that they serve as decora tions. This is the function of mural painting at its best and the fact that they tell a story, and well, adds to rather than takes from their merit. Follows Chaucer. To a great extent in picturing the Canterbury pilgrims in these mural paintings Mr. Winter has followed the order in which Chaucer himself Introduced them in his “Prologue,” but in some instances he has taken the liberty accorded the artist and rearranged them. And why not? Burely when this goodly company wended their way, in the latter part of April, 1386, or thereabout, from thq Tabard Inn, Southwark, where Chaucer Joined them, to Canterbury, there must have been frequent re groupings. Only are we told that the “Reve ever rode hindermost.” In the matter of dress also he has apparently carefully followed the text, studying at the same time, one must believe, the costume of this — time in order to render It with rea sonable accuracy. What an interesting democratic as semblage it was—and is—those from all walks of life whose business it was to serve; humble and simple as : well as those of high estate, brought j together by the single purpose of j honoring a martyred saint and I thereby, perchance, attaining bless ing and atonement. Such casting aside, for the nonce, of social dis tinctions was not unusual in the England of those days, nor for that matter in the England of today, when upon festival occasions lords of the manors mingle merrily with their retainers and the village folk. Furthermore, in that day there was honest employment for all capable of working, and pride felt in the fulfillment of simple tasks. Miller Leads. Heading the procession, as Mr. Winter has pictured it, comes the Miller, short shouldered, broad and brawny, who, blowing a bagpipe ■ well, led the band out of Southwark. Closely following him rides the Host of the Tabard Inn, where the com pany gathered, who presided over ! them during the journey. He, from arstride his horse, looks back, waving his hand with a gesture of leadership. The “very perfect, gen tle Knight” on a horse, good but not gay. follows after these, and be hind him comes the much-traveled young Squire on a white palfry, sit ting at ease, head held high as might befit the youth of 20 who could, Chaucer says, dance as well as he could ride, slept as little as a nightingale and likewise could sing as gayly. Behind him is the Yeoman, clad in coat and hood of green, bow in hand and sheaf of peacock-feathered arrows in his jerkin. The Doctor of Physic follows close, a stiff, impor tant-looking fellow, learned and wise, grounded in astronomy as well as medicine and surgery, but with an itching palm, a lover of gold as well as science. And now we meet the author of the “Canterbury Tales,” Chaucer himself, riding a dark horse, simply dressed, bearded, back turned to the observer as he looks over his shoulder to converse with the I learned Lawyer who, successful and prosperous a busier man was hard to find—yet (whispered behind the hand) one who seemed busier than he really was. Clerk of OxenforG. Following this all-important group comes upon a nag, with nose in book, the Clerk of Oxenford (now Oxford), who loved the classics and of whom it was said “would gladly learn and gladly teach.” Essentially is his face that of the scholar. In interesting contrast are the next two horsemen, the gentle but efficient Municipal, or steward, riding nonchalantly with hand on hip, harangued by the bearded Sailor who, probably from Dartmouth, with dagger at belt, and face browned by the hot summer sun has undoubtedly thrilling adventures to recount. Almost one can hear his aeep-tonea voice ana jovial laugh as he gesticulates, dropping his bridle and letting his horse step on as It will. Finally in this half of the pro cession comes a group of five repre senting the Church, a Prioress, a Nun and three Priests. The women ride side by side and at their horses’ feet run two little dogs. Of the Prioress it was, it will be remem bered, said that she “sang full well the service divine,” but her French was that of Stratford rather than Paris. The Nun who rode with her was her chaplain and in attendance were the “Prestes thre.” Groups Follow. Passing now to the opposite wall we have a succession of groups of two and three, in some instances slightly more detached. First come the Merchant and the Friar, the former in motley, with “a forked beard,” and wearing a Flemish beaver hat, reputed to be a good bar gainer, a man of wits, but possessed of wealth and honor; the latter, one of the outstanding characters, in the garb of his order, sitting astride his light-colored horse, looking back to those who follow with a twinkle in his eye and the gentle kindliness of expression of one who made a busi ness of doing good. Especially gay is the group of three which follow close upon the heels of Friar and Merchant. This is made up of the Monk, all shaven and shorn, the Franklin, heavily beard ed, and the Wife of Bath, a gay crea ture with horse gayly bedecked. Be side the monk strides a sleek and beautiful greyhound. The Monk, ac cording to Chaucer, and hence as pic tured by Mr. Winter, was a wealthy man with “many a dainty horse in his stable" and when he rode “men might hear his bridle ginglen” (jingling). Greyhounds he had for hunting hares, and being something of an epicure, “a fat swan he liked best of any roast.” The Franklin seems to have attained most dis tinction by the whiteness of his beard, but the Wife of Bath was certainly a character and one who relieved solemnity. She was, it ap pears, a very dressy lady, much , traveled, a little deaf, a talker, full of laughter and sharp retort— something of a flirt—well acquaint : ed with the “art" of love and know S ing many remedies therefore. Parson Is Beloved. Quite different in character are the next pair, riding side by side, the Parson and the Plowman. Of all the characters in the "Canterbury Tales" the Parson is perhaps the most beloved. "To draw folk to heaven by fairness and good ex j ample was his business"— j "Christ's law, and His apostles twelve, | He taught, but first he followed it himself.” The Plowman, riding by his side | on a mare, was his brother and of no less good repute. "God loved he best with all his whole heart, but withal he lived in peace and perfect charity." The coat he wears is the “tabard" from which the Inn took j its name. field togetner oy common in- j terest in their occupations are the ! three colorful figures that follow. These are the Weaver, the Dyer and the Arras-maker—craftsmen in high standing and favor in the late 14th century. Artistically this is an es pecially happy composition, de tached and yet a piece with the whole. Less unified but engaging because of differentiation are the mounted Carpenter, Haberdasher and Cook, who string along, each for himself, as those who ride near the end of a parade are apt to do. The Carpenter has something to say to the Cook, who seems to take it rather sourly, while the Haber dasher smiles to himself with an air of superior indifference. After these we make the acquaintance of | two officers of the law, the Sum moner and the Pardoner, the for j mer with a “fire-red face like a i cherubin,” "quick and chirpy as a , sparrow,” the latter youthful, gen tle and rather self-effacing, “straight come from the court at Rome, full of loud song,” beardless. And lastly the Reve, a slender, choleric man, overseer of his lord's flocks and herds and other possessions, faith ful, trustworthy, gravely silent. Sendee Rendered. The characters which Chaucer gave to these pilgrims on the road to Canterbury, Ezra Winter has ad mirably illustrated and made known anew in his mural paintings. In so doing he has rendered a great serv ice, but not for a moment should it be thought that as large-size il lustrations they attain most signifi cance. First and always they func tion as decorations, beautifying the room in which they have been placed, lending decoration. Second arily, they turn us back to Chaucer and retell his immortal story. Truth and artistic conception and exe cution here go hand in hand as they always have when art has attained to considerable heights, and always will. Artist's Achievements. But, coming down to the present, some will be asking who is Ezra Winter and what else has he done? First and foremost, he is one of our academy in Rome men and has given himself entirely to mural painting—an art in Itself. Born in Michigan in 1886, he went first to the High School in Traverse City and then to Olivett College. His art education was begun in the Chicago Academy of Fine Arts in 1908-09. In 1911 he won a fel lowship in painting in the American Academy in Rome which gave him two years abroad and opportunity for travel. After his return to this country his first important commission was for mural decorations in the great hall and vestibule of the Cunard Building, New York. Later he ex ecuted murals for Kilburn Hall and the Eastman Theater, Rochester, N. Y.; the trading room of the New York Cotton Exchange; Willard Straight Hall, Cornell University; the ceiling of great auditorium, United States Chamber of Com merce Building in Washington; three demies of the Industrial Trust Building, Providence, R. I.; six pan els illustrating the history of New York for the Bank of Manhattan Trust Co., and grand foyer, Interna tional Music Hall, Rockefeller Cen ter, New York, not to name alL i Latin Union To Present Cuban Tenor Don Mario Is Guest Artist for Aztec Garden Program The 92d concert featuring music of the American republics, to be presented under the auspices of the Pan-American Union in Washing ton, will be given in the Aztec gar dens of the union on Thursday eve ning at 9 o'clock. The instrumental portion of the program will be played by the United States Navy Band, under the direction of Lt. Charles Benter, and will include a variety of selec tions by composers of the American republics, as well as some instru mental solos by members of the band. The guest artist for this event will be Mario Alvarez, Cuba® tenor, known in this country as Don Mario, who is making his first appearance on a Pan-American Union program. Don Mario has had a varied career since coming to the United States, having appeared in a number of Hollywood motion picture produc tions with some outstanding stars, as well as several Broadway shows. He has also been a featured soloist with some well-known American or chestras and for the last three years has been a successful orchestra leader and song writer in New York City, where he has his own orches tra at the present time. He sang for a year and a half at the famous Coconut Grove in Hollywood, and subsequently appeared for 66 weeks as the singing star on the Penthouse Serenade program, broadcast each Sunday over a coast-to-coast hookup of the National Broadcasting Co. Orchestra to Play Brahms Symphony The Brahms "Second Symphony in D Major” will be featured by the Department of Agriculture Or chestra. Dr. Walter Bauer, director, in its concerts tomorrow and Tues day nights, at 8:30 pm., in the air conditioned south building audi torium, Fourteenth street and Inde pendence avenue. These concerts will be conducted by Rowland Roberts, American Uni versity graduate and student at the Washington College of Music, mark ing his debut in the field of sym phonic conducting. Following the Brahms, the or chestra will present the finale, presto burlesco, from Georg Schumann's "Eine Serenade,” Galliera's “Im pressioni Esotiche,” the Polovetzian dances from “Prince Igor,” by Borodin; Rubin Goldmark's "The Cali of the Plains.” and the last number from Lamar Stringfield's “Southern Mountains” suite, “Crip ple Creek.” Recital at Y. W. G. A. Mrs. Kelly Tatum, soprano, will give a song recital at the Y. W. C. A. on Thursday evening at 8:30 o’clock Mrs. Tatum is a pupil of Henrette Bagger Plum. Her program Includes the arias “One Fine Day,” from “Madam Butterfly,” by Puc cini; “Lullaby From Jocelyn,” by Godard, and other familiar favorites by Mozart, Schubert, Franz and Grieg. Margaret Bessler will be the accompanist. ROWLAND ROBERTS, Who will make his debut as orchestral conductor in the concerts he will direct tomor row and Tuesday evenings of the Department of Agriculture Orchestra in the Department Auditorium. In Local M Frances Gutelius Smith, recently returned from White Sulphur Springs as pianist for the Zonta Club Convention, will present three young pianists, Polly Pierce, Marilyn Lauter and John C. Gall, Jr„ in individual programs tomorrow at 8 p.m„ at the Arlington (Va.) Studio of Mrs. Smith. Joe Gall will read his essay, "Music Through the Ages,” which won honors in the recent District of Columbia Federa tion of Music Clubs contest. In connection with the Zonta Club Convention Mrs. Smith proposed congratulations for the forthcom ing birthday anniversary of Mme. Chaminade be sent to her at Monte Carlo. France, in recognition of her contribution to the world of woman creative artists. The Etude music magazine is sponsoring a world-wide birthday card shower for Mme. Chaminade. Sylvia Kaplowitz of the Homer L. Kltt School of Music will present Gertrude Betts, concert accordion i 1st and pianist, and Miriam Mad i den. modernistic pianist, in a re | cital on Tuesday' evening at 8 j o'clock, in the Kitt Recital Hall, 1328 G street N.W. Mrs. Kaplowitz's professional group, the Kitt Accordionettes, composed of Antoinette Charahus, Leona Marans. Gertrude Betts, Bernadette Crouch, soprano soloist; Elizabeth Bickford, Harriet Okun, Ruth Buchanan and Iris Grazzel, will offer a group of numbers ar ranged especially for this recital. The public is cordially Invited. There is no admission fee. Mrs. Irving A. Lehman is present ing a group of her piano students in a recital, which wdll be given at the Salle de Recital. 1325 G street N.W., at 8:30 o'clock Wednesday eve ning. Those who will take part are Beverly Back, Virginia Lee Blore, Ann D'Esplnosa. Corine Fyfe, Elaine Gwynn, Gwendolyn Gwynn, Billee Marie Hatcher, Caroline Haynes,! Albert Klopfer and Barbara Strang. Mrs. D. Sellmer Lord presented her pupils in a joint recital last week at the Mount Pleasant Con gregational Church. Those participating in the junior group on Thursday were Bobby Marston, Rose Vasco. Petey Lump kin, Joan Hagan, Barbara Ray bum. Rita Brockmeyer, Anne Lanahan, Ellen Robinson, Louis Long, Janet Johnson, Mary Copper, Nancy Saunders, Sylvia Swingle, Alan Hagan, Harriette Krakow, Jane Merwin, Thomas Caldwell, Virginia Martin, Jacqueline Bullock. Richard Caldwell, Helen Ballinger and Ro berta Robinson. Friday the program was present ed by Ruth Lancaster, William Bins wanger, Betty Noble, Anne Lanahan, Nicolas Vasco, Eunice Thomas, Ar Recitals Are Planned At C. U. The Summer School of the Cath olic University of America is intro ducing a new feature in the form of a series of four Sunday afternoon recitals to be held during its sum mer school term this year, the jubilee year of the Catholic Univer sity. These recitals, one hour in length, will take place on four consecutive Sundays, July 9, 16, 23 and 30, at 4 o’clock in the afternoon. There will be a nominal admission charge. The first, second and fourth concerts will be given at the spacious Mc Mahon auditorium, located in the Administration Building, while the third concert will be held at the Na tional Shrine of the Immaculate ConceDtion. Elena de Sayn, violinist, will be heard in the opening concert on Sunday, July 9. For the past eight years violin instructor at the Cath olic University Summer School and the Catholic University’s Sisters’ College, Miss de Sayn will give a full-length violin recital, assisted by Herbert Herzfeld at the piano. The Catholic University Trio, founded by Dr. Hugh O’Neill, will perform on Sunday, July 16. Due to the absence of Dr. O’Neill, who left for Labrador and Baffin Land in connection with his work as a bot anist. Jean Kayaloff, well-known cellist and instructor of this city, will take his place. The other mem bers of the trio are Elena de Sayn and Herbert Herzfeld, pianist. Conrad Bernier, noted organist and instructor in organ and piano at the university, will give a joint re cital with Miss de Sayn at the Na tional Shrine of the Immaculate Conception on Sunday, July 23. Plans for the final recital on Sun day, July 30. have not as yet been completed. The program will be a miscellaneous one and will feature Esther Cloyd, soprano, in two groups of songs; Edith Marmon Broslus, harpist, and Instrumental numbers by other artists. i usic Circles mando Vasco. Violet Price, Mary Darr, Christine Binswanger, Patsy Calloway, Mary Brockmeyer, Mil dred Barry, Catherine Brockmeyer, Donald Watson, Donna Cochran, Margaret Watson, Jane Home, Dor othy Bridges, Joan Graham. Nancy Simmons, Mildred Carter, Roberta Clark and May Rodgers. Fanny Ross Henbest presented a group of her piano students in the final recital of the season on Satur day, June 17, at 2229 Bancroft place Eva Whitford Lovette will present a group of her artist and student vocalists in the last studio recital of the season Thursday evening in the DmitrlefT-Gnoocheff studio, at 5612 Connecticut avenue N.W. The singers, to be presented in the order of their appearance, are: Kathryn Furmage, Sally Dudley, Helen Dun bar. Gloria Masgoret, Helen Vroo man. Mary Schmitt, Esther Bond, Marion Leigh, Elise Free, Kathleen French Crisp. Violet Hobbs. Hattie Moler, Carolyn Schulte. Hazel Cake and Francise Bass Wilson. Florence Shelley Nielsen will assist with the accompanists. Madeleine Aughinbaugh presented her students in piano recital June 14 and 15 at Pierce Hall, Fifteenth and Harvard streets. The following students took part; Madeline Amato, Mary Jane Abendschein, Jeanne April, Helen and Demetra Bacas, Katherine Bartram, Ann Baldwin, Helen Black, Doris Crouch, James John Cerda, Nancy Chelberg, Bar bara Clancy, Edward Lee Catterton, Betty Cooper. Barbara Corridon, Katherine Deoudes, Gene Eisenbeiss, Arlene Edmonston, Shirley Ed monston. Audrey Friedlander, Eliza beth Fitzpatrick, Doris Fortnev, Patrica Ann Flood. Jack Folk, Nor man Genaro, Helen Glasco, Susie Gibbons, John Gunnarson, Jeanne Herrlty, Betty Haney. Marjorie Kahn, Lois Lawrensoi^, Mary Cath erine Lohr, Betty Ann Lohr, Char lotte and Mary Mataja, Mildred Mincosky, Mary Claire Maloy, Ruth Marion McDougald, Carolyn Mor gan, Kathleen Nolan, Jeanne New hall, Ruth O'Brien, Dorothy Padgett, Julius Piver, Claire Packrel. Ruth Pope, Jeanne Powers, Marilyn and Anita Reiskin, Leon Reiskin, Audrey Ridgell, Saul Rosenthall. Phyllis Ro senberg. Howard Rosenberg, Karma Jane Robinson, Evelyn Ruth Strout, Jeanette Stein, Betty Schultz, Betty Sowers. Betty Lou Shaver, Bettye Thomas, Doris Talbert. Dora Mae Slovensky, Anastasia Valis, Lewis Valis, Doris Jean Ways, Edna Earl Webb, Lenore Wolf and Ruth Witzel. They were assisted by Karma Jane Robinson, toe dancer, accompanied by Jeanette Stein. Fifty students received gold pins for perfect at tendance at all lessons. Second Festival Program Is Set The Summer Festival Committee of the Community Center Depart ment, Elizabeth K. Peeples general chairman, will present as the second festival program of its 1939 series of Tuesday evening events at the Washington Monument, in the Na tional Sylvan Theater, Tuesday at 8 pm. the Columbia Light Opera Co. in its revival of “The Geisha,” musical play in two acts, with 11 bretta by Owen Hall, lyrics by H. Greenbank and music by Sidney Jones. The opera is directed, staged and conducted by Ethyl Manning, with music played by a small orches tra of local musicians and Charles W. Worthy as pianist. A cast of more than 50 singers of the Capital City will be heard. Leading roles will be sung by Edith Hoffman Jones, as O Mimosa San; Mildred Gleeson, as Molly Seamore; Leila Stanley, as Juliette; Clarke Paulsen, as Lt. Fairfax; William Brower, as Dick Cunningham; Charles Moran, as the Marquis Imari, and Florenz Hinz as Wun-hi. Glee Club to Bring Novel Program A novel program Is promised for Washington when the Elmhurst College men’s glee club sings here Wednesday evening. A number of interesting selections composed by Chorus Director Waldemar B. Hllle are unavailable to other concert groups, according to Paul Schmidt, business manager for the 30-voiced chorus. The glee club will be sing ing at Concordia Lutheran Evan gelical Church, Twentieth and G streets N.W., Wednesday at 8 p.m. Polyphonic Concert The choir of 28 men and boys, un der the direction of Arthur Howes, P. A. G. O, which sings every Sun day morning at St. John's Church, Sixteenth and H streets N.W., will give a concert of polyphonic music in the Temple of Religion at the New York World's Pair during the twilight hour, from 6 to 7 o’clock, tomorrow. This program will be broadcast over a national radio network at I o'clock, Washington time. '* 1 *-——_— ___ Concerts at Water Gate Will Open July 12 National Symphony Orchestra’s Summer Concert Tickets Go on Sale Tomorrow The National Symphony’s Or chestra's summer concerts at the Potomac Water Gate have now been definitely scheduled to open Wed nesday, July 12—three days later than originally planned—C. C. Cap pel, manager, announced today. Dr. Hans Kindler, conductor of the sym phony and musical director of the summer concerts, will conduct this opening event. Tickets for the 12 "Sunset Sym phonies" as well as for the perform ance of Puccini's opera, "Mme. But terfly,” will go on sale tomorrow in ; the orchestra's box office, now lo ! cated in the Homer L. Kitt music store, 1330 G street N.W. The or chestral concerts, for which several distinguished guest conductors and soloists have been engaged, will be 1 given each Wednesday and Sunday night over a period of six weeks, with ; the exception of August 2. when “Mme. Butterfly” is scheduled. Reassemblying of the acoustical j shell from which the concerts will ' be given is progressing satisfactorily, | along with other preparations for I the summer season. While the stage I will be the same one that was used last summer, considerable remodel ing will have to be done for the production of opera. Mr. Cappel indicated that the sea son's opening was postponed a half week to make sure that all the shell improvements will be completed be fore the opening event. "The stage is being enlarged over that of last year,” the manager said. "Foot lights and other electrical equipment are being installed, and dressing I—.. rooms and storage rooms are being arranged in the hold of the barge. All this means extra work in re assembling the shell.” Members of the orchestra, who usually occupy the shell, will be moved to an auxil iary barge in front of the stage on the opera night. Promising an opera performance to rank with summer productions in New York and other metropolitan centers. Mr. Cappel announced that in addition to the direction of Alex ander Smallens, who has produced summer opera in New York. Phila delphia, and other large cities, the Watergate opera will have the bene fit of Metropolitan Opera Co. stars in leading roles. Hilda Burke, a leading Metropolitan soprano, will sing the title role of "Mme. Butter fly.” Armando Tokatyan and Carlo Morelli, also of the Metropolitan, will appear in male roles. In addi tion to the principal singers, the en tire cast, including members of the chorus, will be brought from New York especially for the perform ance, as will be costumes and scen ery. The “Sunset Symphony” tickets going on sale tomorrow will be scaled from 25 cents to $1. Prices for the opera performance, which will be outside the "Sunset Symphony” series, will necessarily be higher to cover increased cost of presenting that event. The box office in the Homer L. Kitt store will be open from 9 a.m. to 6 p.m. each week day. Tickets may be reserved by calling the box office. Review of Recordings By ALICE EVERSMAN. The Columbia Phonograph Co. seems to have a special gift for ferreting out works that have been passed over by orchestra and artists in favor of the sure fire of well known works and calling the public’s attention to them. In this month's listing are several destined to bring the charm of something new to those who are thoroughly familiar with the standard compositions, yet would like to hear other things by the same composer. For instance, here are the “Elf Wiener Tanze,” by Beethoven, a work of which the Columbia researchers could find no public performance in this country except one on a program of a private concert given by the Philharmonic Society of New York, conducted by Josef Stransky, in the Waldorf Astoria on Decem ber 21, 1922. These graceful and delicate collections of menuet and waltz rhythms are excellently played by Felix Weingartner directing the London Philharmonic Orchestra. Finishing out the set of discs is a recording of the Larghetto from the music which Beethoven wrote to Goethe's “Egmont.” most familiar to the world through the overture alone. Right alongside of the Beethoven dances is a little known symphony by Schubert, the No. 5 in B flat major recorded by the London Philharmonic Orchestra, with Sir Thomas Beecham conducting. It would be difficult, without knowing the name of the composer, to tie up this symphony with the man who wrote the “Unfinished” or the marvelous collection of songs. It might be ascribed to one of the older masters for its detachment and the simplicity of its construc tion. Stemming from Schubert's CHARLES I. DAVIS, Recently appointed vice presi dent of the Washington Musi cal Institute. • 19th year and with the clarinets, trumpets, trombones and drums conspicuously absent from the score, it is evidently this young genius’ imitation of his great predecessors’ type of writing. In fact, the shadow of Mozart and Haydn hovers over it throughout, with the real Schu bert coming to the fore in the lovely second movement. The first public performance was from a manuscript copy in 1873 in the Crystal Palace, London, although the work was composed in 1816. But the most charming of this collection of novelties is undoubtedly Casadesus' "Les Recreations de la Campagne" played by La Societe des Instruments Anciens. of which Henri Casadesus was the founder. The ancient instruments consist of the viole d'amour, quinton, viole de gambe, basse de viole and clavecin, played by Henri Casadesus, M. Casa desus. Lucette Casadesus. Maurice Devilliers and Regina Patoml-Casa desus, respectively, in this delight ful composition with its subdivisions entitled "Sentier Fleurl.” "Colin Maillard.” "Menuet Galant.” "La Ronde des Amours" and "Les Bles d’Or.” this group make the sweetest music possible, tender, lovely and graceful, with supreme artistry. In cidentally, Mr. Casadesus’ wonderful collection of ancient instruments is now the property of the Boston Symphony Orchestra and can be seen in Symphony Hall. Musical Institute To Hold Recital The 11th annual commencement and recital of the Washington Mu sical Institute will take place in the recital hall of the institute Tuesday afternoon at 4:45 o’clock. Helen Lyon Jones, B.Mus., will give the address, entitled "Solo or Symphony.” The degree bachelor of music will be presented to Sister Mary Louise, C. S. C„ by the di rector, Weldon Carter. Accompanists will be Winifred Chamberlain and Louis Potter of the faculty. On Wednesday evening the In stitute will present the annual cer tificate recital at 8:15 o’clock. Those receiving fourth grade certificates are Peggie Stockett, Oiovanna Stew art and Charlotte Rubel, In piano. Intermediate certificates, covering six years of the graded course, will be awarded to Virginia Roberts, violin, and Dorothy Tendrich, piano. A piano recital by pupils of Mrs. C. V. Byram was given Thursday evening at 3413 Holmead place N.W. The following students took part: Jane Anderson, Nelson Carter, Mary Ellen Barton, Alma Rabbitt, Pay Walker, Patricia Abribat, Llewellyn Goodman, Arthur Law and Jacque llne Mestekln, Warren F. Johnson, Organist Church of the Pilgrims 22nd and P Sts. N.W. 7:30 O'clock Preludes on Ancient Themes-Edmundson Are Maria--Jean Langlals FRANK OSTEIN TIACHXK OP ■DtODfO 1712 CONN. AVE. N.W. DEc. 0570 i