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Evening star. [volume] (Washington, D.C.) 1854-1972, April 07, 1947, Image 19

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Persistent link: https://chroniclingamerica.loc.gov/lccn/sn83045462/1947-04-07/ed-1/seq-19/

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I REpubllc 1124
National symphony Unas senes
With Percy Grainger as Soloist
By Alice fcversman
One of the most popular artists
i to visit Washington. Percy Grainger,
• was again soloist with the National
1 Svmphony yesterday afternoon.
| With his assistance, the orchestra
'finished its winter season in Con
1 stitution Hall by giving an excel
ilently played program with Mr.
I Grainger’s piano numbers the spe
i cial attraction. Howard Mitchell
once more distinguished himself in
his conducting by the thoroughly
seasoned quality that it now. bears
and by the manner in which he
rose to every challenge of the music.
In Mr. Grainger’s playing of Car
penter’s "Concertino” and of Liszt’s
"Hungarian Fantasy,” it would seem
that the interpreter’s and the com
poser’s spirits met in complete af
finity. There is no actual resem
blance between Carpenter and Liszt
except their vitality, yet, in that and
in the individualism of their writ
ing, Mr. Grainger was the under
standing exponent. The "Concer
tino” has as its foundation, the
employment of a thoroughly Ameri
can rhythmic music form, In the
same manner that Liszt used the
gypsy music of his native country
in hi* "Fantasy.” The pulse of these
works found perfect expression ir.
Mr. Grainger's unusually keen
metric sense.
Carpenter’s work is light hearted
and Jovial and flows with constant,
facile grace. It has a lurking ten
derness, never openly expressed but
apparent in the gentle urgency of
the music. The opulence of the
piano part is neither insistant or
dramatic but rather a rejoicing in
vigorous discourse with the orches
tra as uppuueuu. xu> uxiuiu&cn wu
tinuity contrasted with the typical
short utterances in the "Hungarian
Fantasy” and with their mournful
and sometimes excessively brilliant
character. Neither so romantic or
colorful as the "Fantasy,” Carpen
ter’s work meets all the require
ments of expert construction while
maintaining a cheerful mien.
The resilience of Mr. Grainger’s
plaving is an ear-mark of his style.
It is vividly ’ alive, glowing with
healthy vigor, yet always cognizant
of beauty. Sq concise is his delivery
that phrases are clusters of notes
with a definite meaning but, while
the sense of form is ever present
it is not confining. The ring of his
tone whether at its loudest or soft
est, is filled always with music. The
performance of the "Fantasy” had a
fulgurant quality throughout and a
buoyancy that rose to a magnificent
climax. The audience clamored for
more at its brilliant conclusion and
Mr. Grainger added, without orches
tra, two Bach chorales in Busoni’s
arrangement and, by request, his
own "Country Gardens.”
The orchestra gave one of its best
performances in this program that
opened the overture to Gluck’s
“Iphigenia in Aulis” and closed, ap
propriately, with Rimsky-Korsakoff's
“The Russian Easter.” In balance, in
quality and in spirit, It was of im
pressive stature. The splendid play
ing of the brass and tympani sec
tions in Copland’s "Fanfare for the
Common Man” was one of the
bright spots of the concert* which,
in brightness and freshness, corre
spond to the Easter day.
Randolph Singers Give Program.
Seated around a table in the man
ner introduced here by the Englls
singers, a group known as the Ran
doiph Singers, gave the Sunday prc
gram in the National Gallery of Ai
consisting principally of madrigal
The director, David Randolph, gav
an informal explanation of eac
number and said a few words abou
the composer. The singers wer
Anna Louise Kautz and Georgian
Peters, sopranos; Mildred Greenberj
contralto; Bert Spero, baa, and an
other woman taking the part of th
The voices of the group were sol
and pleasant but not well suited t
the particular aecoustics of the Eas
- Garden Court. Far this reason, a
a good deal of the test and some oi
• the effects were lost although the
•' purity of tone and the smooth blend
t tag of the voices gate an agreeable
i. Impression. The program was con
e fined, for the most part, to the msd
i rigals by composers of the 16th cen
fc tury, all contemporaries. To the fa
; miliar names of Morley, Monteverdi,
e Howland, Wilbye, dl Lasso and
Farmer were added those of the
. Irishman, Guillaume Costeley, the
► Fleming, Glacbes Wert, and the
Tribute was paid to the season toj
the Caster Quisle, mO Sons ant
li 1
Daughters," arranged by Whitehead, !
data’s arrangement of "Victory" :
and also of Kopolyoff’s “Alleluia.”
Moeart’s "O Du Kselhafter Pelerl,”
■God’s Bottles” ended the concert
m a humorous note.
11 1
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