Evening star. [volume], February 08, 1942, Page E-6, Image 63

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

Image provided by: Library of Congress, Washington, DC

                
Corcoran Presents Naval Exhibit
"U. S. S. Aircraft Carrier Hornet at the Norfolk Navy Yard,” one of a series of drawings in
the exhibition of sketches and water colors of naval defense activities by Vernon Howe Bailey
at the Corcoran Gallery of Art. —Official Navy Photo.
By Leila Mechlin. \
Drawings and water colors of
haval defense activity by Vernon
Howe Bailey, made under the au
thorization of the Navy Depart
ment, are now on view as a spe
cial exhibition in the Corcoran Gal
lery of Art, where they may be
seen until February 19. These in
clude battleships, aircraft carriers,
submarines, cruisers and a few Brit
ish men of war—65 in all—done
practically within the last six
months under Government com
mission.
Vernon Howe Bailey is one of the
best-known illustrators in this coun
try with a very distinguished career.
In 1917. upon this country's entrance
Into the World War, he was the
first artist authorized by the Gov
ernment to picture America’s war
work in navy yards, gunshops,
munitions plants and with the fleet.
The collection of the drawings then
made was exhibited in art museums
throughout the country and later
acquired by the Smithsonian Insti
tution. A set of these prints was
Installed also in the French War
Museum in Paris. He is represented
In the Hispanic Museum in New
York by a collection of drawings
made in Spain in 1921 and 1925.
An exhibition of his “Skyscrap
ers of New York” was exhibited
not only in this country, but in
London and Madrid. In the latter
city the exhibition was opened of
ficially by King Alfonso XIII. He
has also the distinction of having
been permitted to make a series
of drawings and water colors of
the Vatican Palace, Including the
private apartments of the Pope.
He has served as staff artist on
the Philadelphia Times, the Boston
Herald, the New York Herald, the
Times, the Journal and the Sun,
and has worked for Harpers Maga
zine. Scribners, Century and many
others.
Obviously Mr. Bailey is first and
last an illustrator—and one of the
best. His war-work drawings wit
ness to facts—and very big facts
at that. They teU what this coun
try has been doing in the last year
to prepare us for war and safe
guard our Nation—a record which
arouses pride and tends to increased
confidence.
At times in these illustrative
drawings and paintings—a few be
ing in wash—he rises to a very
distinct height purely from the
standpoint of art—as, for example,
In his striking rendition of “U. S. 8.
Aircraft Carrier Hornet” as seen in
tha Norfolk Navy Yard, tied up at
the wharf and looming large against
the sky. It is in instances such as
this that art while subservient to
illustration plays a very large part
.In conveying the desired message.
At the last moment two additional
works were placed in this notable
exhibition, both of H. M. S. Duke
Of York, a magnificent battleship,
on board of which Churchill and
his associates were brought to this
country for conference. These
drawings, beautifully made, also
had dignity and distinction.
Vernon Howe Bailey comes of
New England stock, his ancestors
having settled in Massachusetts as
early as 1640. He studied art first
in Philadelphia, at the academy.
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then at the Royal College of Art,
London, and finally in Paris.
At the opening of this exhibition
the gallery was decorated with
palms; there was music, and a very
large attendance of naval officers
and other representatives of the
Government, as well as those, who,
for interest in and love of art,
usually attend such affairs.
Estoppey Jade Collection
A rare and very charming collec
tion of jade, amassed over a con
siderable number of years by
Georges Estoppey. is now on view
in the National Museum under the
auspices of the National Collection
of Fine Arts, Smithsonian Institu
tion.
These exquisite works, carved with
all the perfection of craftsmanship
of Chinese workmen, are exceed
ingly varied both in color and form.
They were not for use, but sheer
beauty, the possession of those who,
having wealth, acquired them as a
tangible evidence of high culture,
in an age controlled by considera
tions of rank and ceremony. Each
piece was a rarity and their owner
ship a distinction.
There were three great periods in
which jade was carved and espe
cially prized. The San Tai and the
Han (down to A. D. 22V, the T’ang
Sung (A. D. 618-1277) and, greatest
of all, the Ch’ien Lung (A. D. 1736
1796). It is from the last of these
periods that the examples in the
Georges Estoppey collection come.
In ancient China jade was con
sidered the most precious stone, on
account both of its variety of color
and its delicacy of texture. Includ
ing with jade and jadeite, the colors
are not only extremely varied, but at
times two or more occur in the
same piece. This gave the carvers
additional opportunity for display
ing their skill, the design carved
being adapted to the variation. For
instance, yellow jade may be mixed
with green or green with gray. As
a rule we today think of jade as
green, but it may just as well be a
cloudy blue or dark red or a milky
white, not to name all the varia
tions. Obviously, as witnessed by
the jade now on view, the subject
carved was always made to accord
with the coloring.
The other quality of Jade which
has made it so greatly prized is that
of texture. Unfortunately, in a val
uable loan collection such as this
the exhibits can be aeen but not
touched, but no one can see them
without experiencing an irresistible
desire to reach toward them and
touch. John Ferguson, who has
spent many years In China and is
a leading authority on Chinese art.
has said, "Just as painting is appre
ciated by sight and music by hear
ing, so Jade offers to its devotee the
purest delight of the esthetic sensa
tion of touch. It is described as
‘jun,’ which means soft, like morn
ing dew or gentle rain, but it also
means an elegant, glossy surface.
It is a quality which corresponds
with harmony in music or grace in
movement.”
This leads to consideration of the
important part texture plays In the
arts generally, as for example in
painting and sculpture, or among
the crafts, in silver smithing and
fabric weaving. In each of these
it is not the material in itself which
tempts the fingertips—the sense of
feeling—but the way it is employed
by the artist or artisan.
Subjectively the Estoppev collec
tion covers much ground. There are
exquisitely carved cups with covers,
bottle-shaped objects, figures of
lovely ladies in flowing robes, ob
jects for purposes of many sorts—
but almost never for utility. In fact,
practically all have been produced
for beauty alone and it is for this
that they have been treasured.
Current
Exhibitions
The National Gallery of Art.
World masterpieoe* of paintlnt and
sculpture—permanent collection and
private loan*.. Special exhibition
American water color*, drawing* and
prints recording defense and war ac
tivities purchased by the Government
through national competition.
The National Museum—Nation
al Collection of Fine Arts.
Special exhibitions: Georges' Kstop
pey losn collection of lade: paintings
on metsl by Buell Mullen: etchings
and dry points by Gerry Petra*; salon
prints from American Annual of Pho
tography. Throuth February.
Freer Gallery of Art.
Oriental art; paintings, drawing*
and print* by J. MeN. Wnlstler: Pea
cock room: permanent exhibits.
Corcoran Gallery of Art.
American paintings and sculpture:
Clark collection — permanently on
view. Special exhibitions—Paintings
and drawings by Adolph Borle. to
February 16: naval defense activities:
Illustrative drawings by Vernon Howe
Bal.ey, through February 19: Society
of Artists’ 61st Annual and society
of Miniature Painters. Sculptors and
Gravers' Annual to March 1.
Phillips Memorial Gallery.
Modern paintings—selected unit!
from permanent collection.
Arts Club of Washington.
Water colors by Lon a Miller Kep
llnaer and gouaches by Frances Per
rr; to February IS.
The Whyte Gallery.
Paintings of Congas by Joan JuB
yer of Barcelona. Spain: to February
16.
Public Library, Mala Baildlng.
Selections from I«d« of American
Design.
Dumbarton Oaks Collection and
Library.
Barly Christian and Medieval Art.
Permanent exhibits.
Textile Museum of tbs District
of Columbia.
Cards ot admission obtainable on
application to George Hewitt Myers,
730 Fifteenth street N.W. Perma
nent collection rare textiles. Bast and
Near East.
Paintings on Metal
The National Collection of Fine
Arts announces an exhibition of
paintings on metal by Buell Mullen
of Lake Forest. 111., to be held in
the foyer of the Natural History
Building. National Museum, Tenth
street and Constitution avenue, from
today, through February 27. In
the reading room of the Hispanic
division of the Library of Con
gress, at the south end, is a
painting by this same artist done
on stainless steel. It represents the
coat of arms of Columbus and is
very decorative in effect.
Water Colors at Arts Club
The 25 water colors by Lona Miller
Keplinger now on view In the gal-1
lery of the Arts Club, make a very
attractive showing, being fresh in
color, spirited in execution and ex
cellent in effect.
Mrs. Keplinger, who lives in Be
thesda and has a garden of her
own. is generally thought of as a
painter of flowers and still life,
but in this exhibition at least three
fourths of tiie works set forth are
of other subjects, landscapes, boats,
houses, etc., some of which may not
be beautiful in themselves but have
1 found beauty through the artist's
! interpretation. Quite a number are
of boats. Ashing schooners tied up
at Gloucester wharves, handsome
in line and form and painted in
strong, rich colors.
There are fishermen's shacks
painted at Pigeon Cove and Rock
port on Cape Ann; a hillside gar
den In all It* midsummer glory
found at the latter place, and an
interesting group of lobster Aoat*
hung up ready for use by a lobster
man's cottage at Pigeon Cove.
Work of Noted Spanish
Artist at Whyte Qallery
By Florence S. Berryman.
Joan Junyer’s paintings of con
gas. exhibited at the Whyte Gallery
until next Sunday. Introduce to
Washington the work of an artist
counted among Spain's foremost.
The exhibition will doubtless be
wilder many who view it, for these
paintings are not factual, they do
not show us how the conga dancers
appear to the average eye, nor are
they beautiful from the standpoint
of the average person. They are
essentially contemporary in char
acter, and appear to be based upon
the emotions aroused in the artist as
he watched the natives of the West
Indies performing their savage
dances.
Needless to say, the discreet ver
sion of the conga which is familiar
to Americans and popular among
the younger set, is a very different
affair from that executed by its
originators. A sense of rhythm and
suggested motion in Senor Junyer’s
paintings will be obvious to those
who study them, but these works
will doubtless be appreciated and
understood most easily by persons
able to abandon themselves to emo
tional delirium. One imagines, for
example, that the high school “jit
terbugs” who danced up and down
the aisles of a local theater a few
years ago, when their favorite swing
orchestra was performing (and who
evoked much alarmed comment from
their elders) would be admirably
equipped to comprehend the Junyer
congas.
No one can deny this artist's
originality in color and design ele
ments, also in his technique and
use of materials. He is no purist
limiting himself to a single medium
and treatment in any given paint
ing, but an experimenter seizing
upon any means he finds useful in
expressing an emotion. Some of his
conga paintings utilize natural back
grounds; others have gold grounds,
or elaborately painted surfaces cov
ered with stars or similar designs.
His figures are sometimes painted,
again scratched into the surface;
they may be merely suggested by
broad sweeping strokes, or composed
of many lines, and in several in
stances, are peppered with a finely
ground substance resembling mica.
Two of the paintings have real sea
shells brightly colored and glued to
their frames.
The artist’s own interpretations
of his paintings, translated in a
catalogue of the exhibition, are not
likely to help the observer, in most
instances. Concerning one of his
shell-decorated works, for instance,
he says, ‘‘Everything curls wisely
in spirals as in the chaos of a be
ginning world.”
This is reminiscent of Gertrude
Stein and will doubtless enchant
devotees of modern poetry as well
as of painting. Some of Senor
Junyer’g comments on his paintings
are more intelligible, and his choice
of words seems inspired, as in “The
screaming confusion reddens and
whirls away.”
*Loy Cabin at Great Tails," by Lona Miller Keplinger, included in her exhibition of water
eolort at the Art* Club. Star Staff Thbto.
New Music Week Brings Heifetz and Grainger
"
Pianist-Composer
Is Soloist With
National Symphony
Jascha Heifetz, noted violinist, left, will give his annual
recital Tuesday evening at Constitution Hall. Right, Percy
__ _ .
Grainger, pianist, soloist this afternoon with the National Sym
phony Orchestra.
Appearing in the dual role
of pianist and composer, Percy
Grainger returns for one of his
frequent appearances with the Na
tional Symphony Orchestra this
afternoon at 4 o’clock in Constitu
tion Hall. The disciple of Grieg
will be heard with the orchestra
under Hans Kindler’s direction in
his master's piano "Concerto in A
Minor.” as well as in his own suite,
"In a Nutshell.”
The concert will be further
marked by the first performance
anywhere in its entirety of Arnold
Corneiissen's Symphony, two parts
of which—when played on the spe
cial concert for members of the
orchestra association last spring—
won for their author the first prize
in Dr. Kindler's contest for Ameri
can composers. To open the pro
gram Dr. Kindler has scheduled
the grave and allegro from Bach's
| “Organ Concerto in G Major” in
Dr. Kindler's arrangement.
It was Grieg, incidentally, who
awakened Grainger's interest in
folk tunes—an interest that led to
t the creation of some of his most
, popular work , including the peren
nial favorite, "Country Gardens,"
i and. to a certain extent, this after
noon’! “In a Nutshell.” This latter
work, first performed in this coun
try in 1916. employs the services
of Mrs. Grainger, the former
Swedish painter and poetess, Ella
Viola Strom. Mrs. Grainger will
play a large and complicated
percussive Instrument called the
Deagon staff bells because, her hus
band says, they aic so far apart
(one octave taking about 6 fc«t)
Music Notes
The February meeting of the
Washington Alumnae Chapter of
Mu Phi Epsilon will be held tomor
row evening at the home of Olive
Witters, 2100 Plymouth street N.W.
A program of American music has
been arranged by Helen Bellman,
with the following members taking
part: Vera Ross, Margaret Tolson,
Mary Louise Hill, Quinta Erey and
Olive Pratt.
A beginners’ class in the making
and playing of shepherds’ pipes, un
der Sidney Heller, is scheduled to
begin on Wednesday at the Y. W.
C. A., Seventeenth and K street*.
The class will meet for six two-hour
sessions from 7:30 to 9:30 p.m. It
is open to men as well as women.
Further information may be ob
j tained from the music office.
Magdalaine Chaveau, soprano,
formerly of the Philadelphia Opera,
will be heard in concert Thursday
evening at Normandy Farm, Po
tomac. Md., following a dinner,
the proceeds of which will go to
the Potomac Methodist Church.
David Palmer, composer, will play
his own compositions and Francis
Garcia will be the accompanist.
Another all-expense tour to the
Metropolitan Opera has been ar
ranged for Saturday. The opera to
be given is "Tannhauser," and trans
portation to New York and the opera,
seat for the performance and meals
en route are included in the price.
Tickets are on sale at the Cappel
Concert Bureau in Ballard’s, 1340 G
itreet N.W., until 5 p.m. Wednesday.
The Washington Grand Opera has
been engaged to sing an opera pro
gram for the Kansas State Society
Friday at 8:30 pm. in the WiUard
large ballroom. Dorothy Remington
and William Webster, former lead
ing soprano and leading tenor of
the Covent Garden Opera Co. in
London, England, will be the prin
cipal soloists. With an ensemble of
35 voices, the program will consist
of selections from "Rigoletto,”
“Faust” and “La Traviata.”
A group of Helen Miller’s piano
students played in recital on Satur
day evening, giving a program of
shorter works from the early’classic,
romantic and modem periods. Stu
dents playing were Nancy Sullivan,
Abbie and Anne Oliver, Phyllis and
Oloria Marchitelli, Barbara Beij
with her father in ensemble, Meigs
Newkirk, Rena and Bobbie Sabatinl,
Margaret Sabine, Elizabeth Ford,
Carol Eddingfleld and Caroline
Kosswig.
Repertoire class for work in en
semble sight-reading as well as two
piano and solo practice is scheduled
for the fourth Friday in each month.
Lynette Wells, Justine Jones, so
pranos; Jesse Nussear, lyric tenor,
accompanied by Otto Simon, took
part in a program Tuesday after
noon by the District of Columbia
Daughters of the Confederacy. The
occasion was the celebration of the
100th anniversary of the birth of
Sidney Lanier, American poet, mu
sician, soldier. *
that they can be played only from
memory.
The four parts of "In a Nutshell”—
in which the piano figures not as
an instrument, but as a somewhat
outstanding item of the general or
chestral make-up—bear the amus
ing subtitles of "Arrival Platform
Humlet,” "Gay But Wistful,” "Pas
toral" and "The Gumsuckers’
March.” This last is a reference
to Mr. Grainger’s home ^tate of Vic
toria. For Mr. Grainger is a “Gum
sucker,” the nickname for Aus
tralians coming from his native
State.
The symphony on this afternoon’s
concert is the work of a man who,
like Dr. Kindler, was bom in Hol
land but now calls America his
home. Arnold Comelissen has been
in this country since 1908 and is
known as concert pianist, con
ductor and composer. In addition
to being the author of symphonic
works that have been played by
the Chicago, Cincinnati and De
troit symphony orchestras, he was
from 1921 to 1929 the conductor
of the Buffalo Symphony, the or
chestra of the city where he still
lives.
Vocal Chamber Music
At Library Recital
The Elizabeth Sprague Coolidge
Foundation, in the Library of Con
gress, will sponsor a public concert
of vocal chamber music in the
Coolidge Auditorium on Saturday
afternoon at 3 o’clock. The program,
unusual in musical content and
chronological extent, will be pre
sented by the Lehman Engel Singers,
a small group of artists specializing
in part songs (with occasional solos)
of the present and past four cen
turies. The director is Lehman En
gel, well-known composer and con
ductor. The vocalists are Florence
Vickland, Virginia George, Janice
Baumgarten. Floyd Sherman and
Cliff ird Harvuot.
Tie Saturday program will con
tain music from many periods and
c.f many schools, with a special '
group of songs having their origin in
America. There will be a 16th cen-1
tury motet, a group of madrigals and
chansons, a group of German songs
and a number of folk songs arranged
for part singing.
Tickets for this concert will be
available on and after tomorrow
morning. 8:30 o'clock, at the C. C.
Cappel box office in Ballard’s, 1340
G street N.W. A service charge is
placed on each ticket. No more than
two tickets will be distributed to one
person.
D. C. Music Clubs
In Unique Program
A unique program will be pre
sented by the junior division of the
District of Columbia Federation of
Music Clubs, of which Margaret C.
Smith is president, at their monthly
recital Friday evening at 7:30
o’clock in the auditorium of the
Mount Vernon Place Methodist
Episcopal Church at 900 Massachu
setts avenue N.W. Presented in two
parts, with much of it in costume,
the first part of the program will
consist of musical numbers by com
posers whose works were the pre
vailing influence upon music in the
United States before any American
composers had become known. The
second half will consist of a new
and patriotic pageant, called "The
Review of the States," in which each
of the 48 States and the District of
Columbia will be presented by a
junior pupil of some junior coun
selor of the federation.
Segall Recital at
King-Smith Theater
This evening at 8:45 Bernardo
Segall. the distinguished Brazilian
pianist, will give a recital at the
King-Smith Theater when he will
present the following program:
Three choral preludes, Bach
Busonl, "Come, God. Creator,"
"Gentile's Saviour,” “Rejoice, Be
loved Christians"; “Organ Toccata
and Fugue—D Major," Bach
Siloti; three studies. “E Flat Major.”
Paganini-Liszt; "Pour Les Huit
BERNARDO SEGALL.
Doigts,” Debussy; ‘‘E Flat Major,”
Rachmaninoff; “El Albicln,” Al
beniz.
Already well known to South
American audiences as one of the
great pianists of his generation. Mr.
Segall has gained wide recognition
in this country since his debut as
soloist with the' New York Phil
harmonic Symphony Orchestra. Mr.
Segall is known to Washington au
diences through his concert work
here and as director of the piano
department of the King-Smith
School. This recital Inaugurates a
series of four Sunday evening con
certs to be given at the King-Smith
Theater by a group of artists in
cluding Helena Figner. Brazilian
singer; Benno Rubinoff, violinist,
and Valerie Bettis, dancer.
Review of Recordings
By Alice Eversman.
The French composer, Gabriel
Paure, has been featured on Victor’s
list the past two months. First
came a release of his beautiful
‘‘Requiem’’ and last month of his
‘‘Sonata No. 1 in A Major,” played
by Mischa Elman, with Leopold
Mittmann at the piano. Outside of
his songs, the works of Faure are
less well known, although the
"Requiem" has gradually gained in
favor with choral groups.
This recording is made by Les
Disciples des Massenet, Goulet,
director: the Montreal Festivals
Orchestra, Wilfred Pelletier, con
ductor, with Marcelle Denya, so
prano; Mack Harrell, baritone, and
Roland Roy, organist, assisting.
The peculiar individuality of Faure’s
‘‘Requiem’’ lies in its tender and
hopeful mood. Not as dramatic as
Verdi's or as somber as Brahms’,
the funeral service has a touching
quality that is more comforting
than the others. Traces of Gounod
can be discerned, especially in the
lovely Sanctus, which resembles
that of the St. Cecelia mass, writ
ten six years previous to the first
performance of the “Requiem.”
The chorus gives an excellent
presentation and Miss Denya makes
the “Pie Jesu” an exceptionally
outstanding bit of the performance.
Only In the olTertoire does the
smooth flowing lyric mOod change
to a gloomier and leas-inspired note,
i for the remainder Is kept on the
' heights without effort.
The “Sonata," composed about
eight years before the "Requiem,"
is more stilted in form and even
the poetic reading which Elman
gives cannot make it as pleasing a
work as that of other French writ
ers. It fills a gap, however. In
sonata composing, coming in a
period between Beethoven's and
Brahms' output that Included only
two sonatas by Schumann, three
sonatinas by Schubert and the
Franck opus. The similarity of
style between the Belgian and
Frenchman is striking, although
the Franck work followed 10 years
after that of Faure.
The dramatic, rich tone of Elman
is subdued to a more lyric color In
this performance, so much so that
It is hardly recognizable as his.
The effect, however, Is much more
refined and more artistic than when
the Elman temperament has full
sway.
WA*«Nr. JOHNSON. ORGANIST
tMUJCH OF THE PILGRIMS
22nd and P St». N.W.
O'CLOCK
Finale, from Senate In E Miner.
. . . FsUMa Fummlll
AadaaU-- A. P, P. Reel.
Armando Jannuzzi
Grand Opera Dramatic Tenor
Voice Specialist
Italian Method
Seheei af bet aaate
Hobart 9028
1819 Oak St. N.W. (Nr. 18th) *
Great Violinist to Make
Sole Appearance Here
Jascha Heifetz, regarded by many
critics as the greatest technical
master of the violin now living,
comes to Constitution Hall on Tues
day evening at 8.30 o'clock for his
only Washington recital of the sea
son. As usual, Heifetz will be pre
sented under the auspices of Dorothy
Hodgkin Dorsey, who will later in
the winter bring to Constitution
Hall that other great American vir
tuoso, Yehudi Menuhin.
Mr. Heifetz will open his program
on Tuesday evening with Mozart's
“Sonata No. 8 (Kochel No. 296
followed by Bruch's “Scotch Fan
tasy.” After intermission, Mr. Hei
fetz will play Saint-Saens “Sonata
No. 1.” and a group of five shorter
pieces: Haydn's “Adagio and Pres
to,” Tschaikowsky s “Valse,” Szyma
nowski s “Chant de Roxane." Pro
kofieff's “Masks” ifrom “Romeo and
Juliet”) and Mendelssohn’s “Scher
zo” (from “Midsummer Night's
Dream”). The first, fourth and
fifth of these short pieces have been
transcribed for the violin by Mr.
Heifetz, who will be accompanied
at the piano by Emanuel Bay.
Mrs. Dorsey is planning the joint
recital appearance in Constitution
Hall on Tuesday evening. February
17, at 8:30 o'clock, of Mme. Bidu
Sayao, Brazilian soprano, and Ez;o
Pinza, basso, both of the Metropoli
tan Opera, in joint recital, while tha
Tuesday evening following. February
24. Vladimir Horowitz, the oelebrated
Russian pianist, makes his only ap
pearance of the winter in Wash
ington.
Concert Schedule
Today.
National Symphony Orchestra,
Dr. Hans Kindler, conductor;
Percy Grainger, pianist, soloist;
Constitution Hall, 4 pm.
Bernardo Segall, piano recital;
King-Smith Theater. 8:45 p.m.
Sunday Music Hour. Papas
Mandoline and Guitar Ensemble,
Sophocles Papas, director; Y. W.
C. A., 5 pm.
Tomorrow.
Coffee Series, Phillips Gallery,
11 am.; the PM Series, Pierce
Hall, 5:15 p.m., Harry Cykman,
violinist; Leonid Hambro, pianist.
D. Sterling Wheelwright, organ
recital; L. D. S. Chapel, 8 p m.
"Evening With the Victrola."
Public Library, Eighth and K
streets, 7:30 p.m.
Tuesday.
Jascha Heifetz, violin recital;
Constitution Hall, 8:30 p.m.
Navy Band Symphony Orches
tra, Marine Corps Auditorium,
8:15 p.m.
Marine Band, Marine Bar
racks, 12:30 pm.
Army Band, Army War Col
lege, 2 pm.
Wednesday.
Chamber Music Guild, Egon
Petri, pianist, soloist; Almaa
Temple, 8:45 p.m.
Marine Band Symphony Or
chestra. Marine Barracks, 8; 15
p.m.
D. Sterling; Wheelwright, organ
recital, L. D. S. Chapel, 8 p.m.
Paul Calloway, organ recital.
Covenant - First Presbvterian
Church, 8:30 p.m.
Friday.
Friday Morning Music Club.
Constance Russell, pianist: Wjl
helmina Spann-hoofd Walter, so
prano; Genevieve Hughes, con
tralto; Barker HaU, 11:30 am.
Junior Division, D. c. Federa
tion Music Clubs, monthly reci
tal, Mount Vernon Place Meth
odist Church, 7:30 pm.
Saturday.
Lehman Engel Singers, Library
of Congress, 3 pm.
Bennion Memorial Program,
L. D. 8. Chapel, 8 pm.
Marine Band, Marine Bar
racks, 10 am. and 2 pm.
Army Band, Army War Col
lege, 11:30 am.
fyeWtd* S'e^a^J
Brazilian Pian:st
In Recital at the
King Smith Theatre
Sunday, Feb. 8th, 8:45
Playinf in part hi*
Mar. 8th New York
program. Mr. Sefall
heada the piano de
partment at tha
King Smith School
If It New Neei etfttra aeeese. NO. till