Evening star. [volume], April 15, 1940, Page B-6, Image 28

About Evening star. [volume] (Washington, D.C.) 1854-1972

Image provided by: Library of Congress, Washington, DC

                
Three U. S. Composers
Share Honors at Concert
Works Have Premiere in Fourth
Program of Coolidge Foundation
Chamber Music Festival
By ELENA DE SAYN.
Three American composers, Roy
Harris, David Stanley Smith and
Nicolai Berezowsky, belonging to
different schools of thought yet
Imbued with the same high ideal
of musical Integrity, shared honors
and success at the fourth concert
of the Coolidge Foundation Cham
ber Music Festival yesterday after
noon. This performance marked
also the premiere of these works,
the melodic contents of which was
their chief characteristic.
Roy Harris’ “Viola Quintet” for
two violins, two violas and cello
divided into a “Prelude, Melody, In
terlude and a Grand Fugue,” gave
an illusion of a village scene in the
first and third movements. Jolly
bits of music introduced by the
violins, were followed by an ex
pressive cantilena in which the first
violin was heard above other in
struments. The recitativo part to
ward the close of the first move
ment led back to the merry making
in the interlude with snatches of
familiar gigue tunes in the fore
ground, closing with a fugue, the
length of which, while detracting
from its merits, was nevertheless
very effective. At the conclusion
of the number the composer and
the players were recalled several
times. The Coolidge group was as
sisted in the presentation by Wil
liam Primrose, violist.
The quartet in one movement,
David Stanley Smith’s eighth, in
“A Major, Op. 77” has its melodic
line concentrated in the first vio
lin. It is like a song, a poem with
out words, the instruments merging
in a kaleidoscopic change of har
monies, rising from playfulness to
a passionate expression to find a
solution in a spiritualized effect of
sound which concludes the work
in a triple pianissimo. The lofti
ness of its concept, the wealth of
melody and its masterly workman
ship deserve a permanent place in
the repertoire of chamber music
groups or even that of a soloist.
The rather unusual combination
vi uiree vioims, vwo vioias ana one
cello proved a clever innovation of
the sextet by Nicolai Berezowsky,
the combination confined usually
to the three pairs of instruments.
The balance of the composition was
unusually satisfying. Written on a
long line with a broad beginning Mr.
Berezowsky works up his thematic
material in the finale to a stupen
dous climax. The religioso of the
“Molto Adagio” has a satisfying
fullness of tone with prominence
given to the third violin, the part
for which was in the capable hands
of Eudice Shapiro. The work is
well written with due consideration
paid to the instruments and their
possibilities. Mr. Primrose was
again assisting the group.
Mr. Berezowsky had his measure
of success. A few words must be
said of the excellence of ensemble in
the presentation of compositions
the harmonies of which were so in
volved and difficult. Security of
pitch and a roundness of tone were
in evidence in most treacherous pas
sages. There was a notable apprecia
tion on the part of the composers for
the manner in which their works
were presented.
Famous Harpist Scores.
For some years the name of
Marcel Grandj any, famous French
harpist, represented the criterion of
skill in the harp world and to hear
him and see his manipulation of
his chosen instrument at close range
was, indeed, an inspiration Satur
day night at the third concert of
the Coolidge Festival at the Library
of Congress, the program of which
featured the harp in ensemble with
a string quartet, with two violins
and with organ.
Of these the most effective was
the first where he had the assist
ance of the Coolidge String Quartet
in Haendel’s Concerto. The finer
possibilities of the harp were dem
onstrated by Mr. Grandiany in
this performance in which his trills
matched the fluency of intricate
runs and his mastery of the pedal.
The magnificent cadenza, composed
by Mr. Grandjany in conformity
with Haendel’s style, brought into
play his unlimited resources as a
virtuoso and a musician, serving to
climax a performance which set up
new standards. Numerous recalls
and volumes of applause assured Mr.
Grandjany of the public’s esteem
for his art.
Eugene Goosen’s "Suite for Two
Violins and Harp, Op. 6” gave more
prominence to the first violin, using
the harp as an accompaning
medium. The work, divided into
three movements, "Impromptu,"
“Serenade” and “Divertissement,"
Is delightful and refreshing through
out, written in a romantic mood, yet
having strength both in its struc
ture and its theme. Mr. Kroll, whose
fine tone and virtuosity on the
violin equaled that of Mr. Grand
jany on the harp, gave a spirited
reading of the work.
Two pieces, an “Aria in the
Classic Style, Op. 19,” and “Fan
tasie-Choral,” on the hymn “Pange
Lingua, Op. 21,” dedicated to Mrs.
Coolidge, formed the thi’-d and last
offering by Mr. Grandjany, this
time with the assistance of E. Power
Biggs at the organ. In the “Fan
tasie,” the harp often vied with
the organ repeating the figurations
or completing the harmonization.
On the whole the work was less
effective for the harp as a solo in
strument althpugh it gave a further
idea of its possibilities in ensemble.
The “Pantasie” was given its first
performance at this concert, having
been commissioned by the Coolidge
Foundation for this festival.
Special interest centered on the
“Sonata for Two Violins and Two
Pianos,” by Jerzy Fitelberg. which,
composed in 1938, was given its pre
miere in this country Saturday. Mr.
Fitelberg is an ultra-modernist and
as such taxes with his style the ear
and the intelligence of his auditors.
The sonata is meager in material
and shows a poverty of ideas and
invention. Consequently, recourse
is had to endless repetitions, one
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Its cacophony resulted In weird
sounds produced by the strings ac
companied by violent answers from
the two pianos.
Ethel Bartlett and Rae Robertson,
whose renown as Interpreters of
classic works is International, de
served the tremendous applause
given them for their mastery of the
score and their earnest attempt to
infuse it with meaning. William
Kroll and Nicolai Berezowsky
brought also their splendid mu
sicianship to bear on it, yet the
reaction, for this time at least, was
amusement on the part of the audi
ence at the infantile dissonances
that stood out most prominently.
The duo-pianists had a better op
portunity to show their fine art In
the Brahms ''Variations on a
Theme by Haydn, Op. 66b." Their
smooth execution and artistic elan
brought them a gratifying recep
tion at the conclusion of the con
cert.
Lindsay Will Speak
David Lindsay, Washington edi
tor of Look magazine, will address
the Washington Society of Amateur
Cinematographers at S o’clock to
night at Mount Pleasant Library,
Sixteenth and Lamont streets N.W.
He will discuss the type of photo
graphs suitable for publication.
Fort Benning Spring
Maneuvers Stress
Speed and Skill
Encirclement Tactics
Next on Program for
45,000 in Training
By the Associated Press.
PORT BENNING, Ga., April 15.—
Military spring training stressed
base running hereabouts today.
The 4th Corps Blues and a pro
visional Red Cross tested their
skill and speed in the largest of a
series of Army maneuvers begun
under an augmented national pre
paredness program last fall.
Rapid transmission of orders and
swift movements are objectives of
conditioning work in newly stream
lined units.
Batting practice on the firing
ranges can be resumed later. Am
munition was left at the base camps
of the Inftnary School reservation
as 45,000 men took to the field yes
terday for two weeks of exercises.
Any necessary battle effects, such
as testing of range-finding equip
ment, are obtained by discharge of
Hear Jean Abbey, Woman's Home
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Encirclement Tactics Next.
Opposing corps bivouacked last
night in preparation for two days
of work on encirclement tactics.
Three other exercises will follow.
Then the 4th Corps will head May 6
for the Sabine River Valley of
Louisiana and Texas to engage the
9th Corps of the Southwest in ma
neuvers which the War Department
said would “mark the high point
in the history of regular Army train
ing.”
Motor vehicles here dominated
even cavalry and artillery outfits,
where the horse was once the first
concern in transport. Among the
Blue Corps troops was the 6th Cav
alry of Fort Oglethorpe, Ga., a
boots-and-saddles regiment recently
reorganised to combine trucks, com
bat cars and motor cycles with
horses in reconnaissance.
Officers reported that shuttling of
men and supplies by trucks per
mitted a streamlined triangular
division to march 45 miles or more
a day for long periods, against 15
miles for the World War type square
division.
Division Manpower Halved.
Divisions In the 4th Corps are
the 1st, 5th and 6th.
The triangular division has re
duced manpower, about ‘ 11,000
against 22,000 or more in the old
type, three infantry regiments In
stead of four, redlspositlon of ar
tillery and support units. One oat
talion of 75-milllmeter guns Is as
signed to each Infantry regiment.
In the backfield Is placed a regiment
of the longer-ranged (up to 12,000
yards) 155-millimeter howitzers.
Brigade headquarters are elimi
nated.
“Greater speed of reaction to or
ders” and "greater road mobility”
are listed as the chief advantages.
One authority said the time required
for distribution of divisional orders
had been reduced from live hours to
approximately two.
Men's Apparel Chains
Report Sales Gain
By the Associated Press.
A sample survey of 472 men’s wear
chain stores showed a 10 per cent
Increase In sales for 1930, as com
pared with 1038, the Department of
Commerce reported.
Sales for all men’s wear stores,
chain and independent, Increased
only 6 per cent, though total sales
for all retail trade were estimated
to have Increased 7 per cent.
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