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Evening star. [volume] (Washington, D.C.) 1854-1972, June 09, 1947, Image 23

Image and text provided by Library of Congress, Washington, DC

Persistent link: https://chroniclingamerica.loc.gov/lccn/sn83045462/1947-06-09/ed-1/seq-23/

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ADVERTISEMENT.
' LIQUID METHOD
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CORNS^
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3 National Symphony Artists
Are Well Received at Gallery
By Elena da Sayn
To hear an ensemble consisting of
a harp, flute and viola is a rare
occurrence which never fails to ex
cite interest, especially if the artists
are as well known as Sylvia Meyer,
harpist; Britton Johnsoh, flutist,and
Abe Cherry, viola, all of the National
Symphony Orchestra. It was not
surprising, therefore, that their joint
appearance in the National Gallery
of Art drew a large and enthusiastic
audience in spite of Inclement
weather.
The program listed one novelty
and two unfamiliar numbers, with
Mozart’s “Sonata” transcribed for
harp, flute and viola by D’Anatalffy,
from the “Violin-Viola Duo in G. K.
423” and Debussy’s “Sonata” thrown
in for good measure. Arnold Bax’s
"Elegiac Trio,” in its local premiere,
is one of those romantic numbers
Abounding in delicate melodies, com
plex rhythms and structure which
appeal to the imagination and re
quire a sensitive appreciation of its
inner contents on the part of the
performers. Against a flattering
background of rippling passages in
the harp and somber strains of the
viola, the flute dominates the trio
and is assigned the message of lyric
beauty and romance. There .was
not much give and take in the en
semble to make the song eloquent,
although technically the number
was above reproach.
Rudolf Porst’s “Trio," opening
with a dialogue between flute and
viola, offers opportunities also for
an intimate appraisal of its possibil
ities for expression and a display
of individuality. A recipient of an
award from the NBC Music Guild
for a string quartet in 1937, Poster
is a violinist by profession, who
lately has devoted all his time to
composition. A former student of
Daniel Gregory Mason, he has suc
cessfully composed for orchestra and
smaller ensembles. Although his
idiom is unfamiliar, his opus is a
good piece of landscape painting in
the “Pastorale,” impressionistic in
character. The “Dance” of the finale
has a sparkle, enhanced by the
capricious turn in the harp, which
brings the work to an effective
conclusion.
The brilliant execution of Gretch
aninoff’s “Bachkiria,” fantasy for
flute and harp, less sophisticated
than the two other novelties on the
program, showed the artists at their
best. Easy to assimilate, graceful
and melodious, this work from the
pen of Russia’s famous compose]:
in exile, shows his Inexhaustible
gift for melody, simple but never
banal. The silvery and fluent tones
of Mr. Johnson’s flute, supported
by Miss Meyer’s elastic and sonor
ous touch found a ready response
in their hearers, who applauded en
thusiastically and recalled the ar
tists several times.
Doris Kandel and Frank at Phillips.
A recital notable for the maimer
in which two young artists inter
preted the music and called atten
tion to its beauty was given by
Barton Frank, cellist of the National
Symphony and Doris Kardel, pian
ist, yesterday afternoon in the
Phillips Gallery.
When the pursuit of novelty be
comes a fashion, whether those who
perform it make sense or not, the
presentation of a conservative pro
gram consisting of Mozart, Beet
hoven, Schumann and Grieg, such as
given in the Phillips Gallery, is
already a disadvantage unless per
formed with such authority and
understanding as by Mr. Prank and
Miss KandeL
Unheralded and unassuming, the
two artists showed themselves al
ready equal to their task in Mozart’s
“Sonatina in C Major,” transcribed
by Piatigorsky. With every note
given minute attention, the first
test in nuance, phrasing and balance
was passed with flying colors. Ex-1
jtreme delicacy and refinement which
crowned the delivery of Mozart's
work, was contrasted by the epic
style applied to Beethoven’s "Son
ata in D Major op. 102, No. 2,”
sustained with a moving quality in
the “Adagio.” Both artists excell
in their command of dynamics and
in the art of playing softly. In
addition they have every other em
bellishment of the nuance equally
under control. Schumann’s “Fantasy
pieces," which introduced a third
and equally difficult style to master
were given an admirable perform
ance.
Lumber shortage cut Sweden’s
1946 shipments of sawn and planed
wood products.
Before 1,000 B.C. King David ac
cepted raisins for taxes.
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