Evening star. [volume], May 02, 1950, Page A-15, Image 15

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

Image provided by: Library of Congress, Washington, DC

                
Music News
Piano Orchestra Follows Pattern;
Cloister Choir Sings Pleasingly
By Alice Ewsmon
The 23 women pianists who
form the Philadelphia Piano Or
chestra, playing on 12 pianos,
were presented in a program last
night in the Lisner Auditorium,
directed by Carle Knisley. founder
of the organization. When the
orchestra flAt appeared here,
some five years ago, the novelty
of an attempt to approximate a
symphonic volume and color with
. a number of pianos was an attrac
tion in itself. Bearing no revolu
tionary consequences, the novelty
part has worn off and the group
appears as an enlargement and
expansion of what was once the
popular pastime of four-handed
piano playing.
To add a bit of showmanship
to the performance, the pianists
were gowned in Colonial costumes
for the first part of the program,
the conductor himself in knee
breeches, embroidered blue velvet
coat and white wig. The pianos,
most of them of the old-fashioned
square type, were painted grey
with two exceptions. One modern
grand was used for the soloists
and leader and the other placed
In the background. After the in
termission, alternate yellow and
black evening dresses were donned
by the women, with Dr. Knisley
in formal attire.
This all followed the pattern
made known at the local debut
and the program contained many
of the same numbers. If there is
more coherency and general se
curity in the performance now,
it still is not up to the expected
artistic level. Some shadings were
employed, but the range was not
wide. The paramount need of
synchronization among the 23 per
formers hampered flexibility and
resulted in metronomic playing.
Even so. chords were struck un
evenly and the ensemble was
never so smooth as its orchestral
counterpart.
The arrangements for this com
bination of pianos are of scant
embellishment to a work such as
Beethoven's “Moonlight” Sonata,
where the leading piano had the
gist of the composition anyway.
They served better in the Liszt
“Hungarian Fantasy" with Mar
garet Nichols as soloist, and the
Saint-Saens "Concerto in G
Minor,” played by Evelyn Berg.
Both these young women have
technical proficiency. The lack of
warmth and sonority of tone in
the group and the rigidity of the
performance permitted only su
perficial effects.
Choir Gives Program.
In the Phillips Gallery, the
Cloister Choir of Mt. Vernon Place
Methodist Church was heard ear
Hawley Ends Service
In Bureau of Safety
James S. Hawley, assistant di
rector of the Bureau of Safety of
the Interstate Commerce Com
mission. who entered Government
aervice in 1912, has retired.
Mr. Hawley, who served as *a
major with the 14th Engineers
Corps in World War I, obtained a
law degree from Georgetown Uni
versity Law School in 1921 and
was appointed attorney for the
Br eau of Safety in 1922. I
lier in a program directed by R.
Deane Shure. This choir of wom
en’s voices, singing a cappella, is
a well-integrated unit in which
the excellent vocal quality of the
individuals blend in pleasing
harmony. The Swiss, Spanish,
French and English carols offered
in an opening group were finely
done and showed the gamut of
nuance attained by the singers
and the finish of their training.
Assisting as soloists on the pro
gram were Margaret Barnwell,
soprano, and Isabelle Mitchell,
pianist. Miss Barnwell’s lovely
voice was heard first in Bach’s
’My Heart Ever Faithful,” Han
del’s “O Sleep, Why Dost Thou
Leave Me?” and Mozart’s ‘‘O Let
Your Songs Be of Him,.” for which
she has the requisite sense of
style and musical feeling. Later
she was listed for a group of songs
by composers resident in Wash
ington and which, with Shure’s
“Lyric Washington,” played by
Miss Mitchell, was programmed
as part of the Sesquicentennial
Celebration.
“Lyric Washington” is a suite
of seven tone poems depicting
scenes in the city. They are en
titled “Gnomes in Rock Creek
Park,” “Mirror Reflecting Pool,”
“Japanese Cherry Blossoms,”
“Potomac Park Boat Song,” “Top
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sy on Tenth street N.W.,” “Ar
lington,” and “Mount Vernon.” In
selecting these subjects, Mr. Shure
covered the picturesque, the his
torical and the entertaining fea
tures in the Nations Capital.
What he has done is to view them
with affection and to express in
music the sentiment that sur
rounds them. He is as skillful in
this in "Gnomes in Rock Creek
Park” as in the solemn beauty of
•‘Arlington,” or the serenity of
“Mirror Reflecting Pool,” where
"the memory of Washington and
Lincoln is reflected on a placid
sheen of crystal.”
Miss Mitchell understood the
deeper significance in these poems
and also Mr. Shure’s manner of
emphasizing it. She played them
with great sympathy, scoring a
success for herself and for the
composer.
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