Evening Star Newspaper, May 24, 1925, Page 59

_— M By Helen Fetter ——— 1 MERIC! ways and ideas are held to task by a writer in the Lon- don Musical Times of May. Speaking of American musical journals, our critic says: “The front page of onec of the most im- portant of these journals contains a large portrait of Mr. Charles Wakefield Cadman, caught in the act of composing.” Then, the writer tells of finding on another page of this same journal a fac simile of the opening page of Mr. Cadman’s latest song, “My Desire.” He pro- nounces it “the merest shop balladry,” and ends by admitting that England has plenty of the “My Desire” type of composers—"in fact, if America wants a few more, we can spare her a cargo. ery European country is well supplicd, but T know of no prominent musical journal in England, France, Germany or Italy that would give up its front page to a portrait of one of its Cadmans, call him ‘really great’ and solemnly an- nounce that a new song from his pen was ‘always an cvent of national interest and importance.’” May we, on the other hand, ask our English critic if England or the continent has to offer any musical journal more sober, readable and “un- commercial” than the Musica! Quarterly, published in New York? * ok kK "BEETHO\«'E and His Poets” are discussed by Dr. Eaglefield Hull in the May number of Musical Opinion (London) : “Was Beethoven possessed of good literary tasic> Romain Rolland (“Life of Beethoven,” Kegan Paul, 1918) thinks it was remarkable that Beethoven's taste in literature was so sound in view of his neglected edu- cation. By education I suppose Rolland meant school attendance and private tuition. This was partly atoned for by his intercourse with the Breuning family at Bonn (and later). Frau Breuning took a special interest i voung Ludwig and watched his mental development as carefully as she did that of her own son and daughter. In the Breuning home the principal reading was confined to Lessing, Burger, Wieland and Klopstock. The last named (the German Milton) was Beethoven’s constant companion in his country rambles. Later in life he loved chiefly Goethe, Homer, Plutarch and Shakespeare. Of Homer's works, he preferred the ‘Odysse ‘Illiad.” He was continually reading Shakespeare (in a German transla- tion), and we know with what tragic grandeur he has set ‘Coriolanus’ to music. He read Plutarch’s ‘Lives’ frequently, as did all who favored the French Revolution. Brutus was his hero; he had a statuette of him in his bedroom. He loved Plato and dreamed of establishing his republic in the whole world. ‘Socrates and Jesus have been my models,’ he wrote in one of his notebooks (1819-20). “Still, on the whole, I think Beethoven can hardly be added to the small list of composers who 'may be regarded as sound literary critics. The composer’s mentality is not, as a rule, of the order which can appre- ciate the fine niceties of language and poetic meter. Becthoven’s vague reply that the clue to the wayward ‘D Minor Sonata’ (Opus 62) could be found in Shakespearc’s ‘Tempest’ is a case in point. This sonata is a tragedy; the ‘Tempest’ is a comedy. “One might well say that all Beethoven's thoughts on literature were musical and broad, loose and hazy. Certainly his random reading influenced his music, but he had only this use for uch a man could »not be a great writer of songs or even of vocal music. We cannot argue much from the fact that Goethe was his prime favorite; no one living at that period could possibly escape being caught in the floods of admiration which flowed round the great man of Weimar. Beethoven could no more ignore Goethe than an English composer could ignore Shakespeare.” * Kk % % LIPPING from Shortcuts, which “Scissors” contributes to Eolus: “Moods make morons of us all. and we should do well to give our udgments a big handicap in the uneven contest with our moods. A critic rriving at a concert from a family dinner party, revengefully analytical and subsensitive, is a different person from the same critic arriving fresh from convivial or amorous activities. Then there are headaches, tooth- aches, indigestions, hootch, heat, draughts, smells, tight shoes and wheezy neighbors to reduce our musical sensibilities to the level of our harassed bodies. The spirit grows weak and old. Then there are moments of great boredom when not even jazz can arouse us.” * % ¥ ¥ O applaud in the pauses of a composition or not is a question that has arisen during several perrormances in Washington the past season. Mr. Stokowski of the Philadelphia Symphony Orchestra always markedly discourages applause except at the end of a work. Dr. Wolle tried in vain * to silence enthusiastic balconyites during the periormance of Bach's “B Minor Mass” by the Bach Choir here. Great black signs had to be hung to keep a reverent atmosphere unshattered by applause during the evening session. When the Harvard Glee Club sang Gretchaninov's im- pressive arrangement of the “Credo” the audience insisted upon showing its appreciation by prolonged 4pplause. In an cditorial of the May issue of New Music Review this matter of the propriety of applause is discussed. It says: “Should applause be allowed between the movements of a symphony? Happening to be in Boston some weeks ago, we attended a concert led by Koussevitzky. After the first movement of a symphony—it was gloriously performed—a few in the upper balcony began to clap their hands, but the great majority of the audience made no sign. Not until the end was there an enthusiastic demonstration of appreciation. Now, take the case of a violinist or a pianist playing a concerto. Should there be applause after each movement it turn? Will he not be aroused to still greater effort by hearty applause?” i The London Times published a few weeks ago an article on the « meaning of applause: “If only audiences could be trusted to say by their applause only what they really feel it would be better for them to do so than to submit to the drill. There arc symphonies where applause comes morc spon- taneously in the middle than at the end.” * ¥ X X USICAL appreciation and popular votes receiving much attention in these days, it is interesting to note an experience of Mr. Ernest New- fandsmith, related by him in the May number of the Musical Standard (London) : P “Some years ago, at a time when London concert halls were under- going a serious epidemic of hideous noises under the delusion that it was music, I offered—through the columns of the Daily Telegraph and other apers—a prize for ‘a simple melody.’ hut weak, insipid tunes, not one of v hich was worthy of any prize. 1 was in a dilemma; for if I awarded no prize it would have scemed like a breach | of faith with the competitors, and yet it was plain that any prize that | might ‘award would have to be given not to ‘the’ best.” but to ‘the least bad’ of the compositions. So—as a way out of the liculty—T selected the three most possible melodies and decided to play them on my violin (accompanied by strings) at my next London concert--leaving it to the audience to decide by votes as to which composer should be ‘the winner. Tt was a terrible ordeal—the playing of these sublime works—and I re- member that the critics of the London daily papers were somewhat sur- prised at being handed a ballot paper on entering the hall! However, it was done, and the public, as may be imagined, chose the worst of the three!” ¢ B o TT is a fairly safe guess that a large proportion of the pianos soid in the United States are purchased primarily for their decorative value and because the picture of the girl seated in graceful pose before the piano and running her fingers lightly over the keys is a prime subject for vari- ous purposes. Henry Eichheim, especially noted for his extensive knowl- cdge gleaned at first hand of Oriental music and his admirable adaptation of it for American audiences in his “Oriental Suite,” tells in the M Eolus of the koto, the Japanese piano, including a charming myth of how a Japanese young lady of some early dynasty just naturally wandered off one pretty morning up a mountain, where she discovered an apparent god playing upon this instrument. She responded to his subtie invitation to draw nearer and learn how to play the koto, and. before she knew it. had hecome a sort of lady Rip Van Winkle (only, of course, this was much hefore our Rip's time). and she stayed up there for a long, long time, mas- tering the use of the koto. Finally she seemed to rcalize that she ought ‘to go home some time, so she departed, taking the koto down the moun- tain with her. Later, however, she returned to try to find the “god,” if such he were. and he had disappeared completely. The legend does not relate what the young lady's family said to her when she came home bringing a koto, or what excuses the young lady made for it. At any rate, to quote Mr. Eichheim: “The koto of Japan occupies a position analogous to the piano in Occidental countries, and it is part of the education of well bred young ladies to play on this beautiful instru- ment of palownia wood, often decorated with exquisite designs in lacquer and ivory. Great craftsmen frequently gave their best skill to the decora- tion of musical instruments, and Stradivarius might havedooked with envy on many of the beautiful musical instruments of Japan. To the Occidental, indeed, these instruments are often more lovely to the eye than interest- ing in sound. The koto, of 13 thick yellow strings, with movable bridges, has a wide scope in its literature, for many tunings and combinations are possible, and, as with the piano, it lends itself equally well to ensemble or solo playing. A Japanese woman performing on a koto makes a picture of rare grace, and it is not surprising that many famous Japanese artists have been inspired by this subject to create superb masterpieces.” * ok ok ok RITICS have a hard lot to bear, but they have their compensation, rare though it be. Mr. Basil Maine, in a recent issue of the London Musi- cal Times, states the case in the following words: “The mind of the music critic, like that of the dramatic critic, must be forever performing a feat of attention not less astounding than.that of the juggler who balances a table on a billiard cue upon his nose and at the same time twirls a bowl of roses on the forefinger of his right hand. The mental reception of a musical performance for the purpose of judgment implies the simultaneous processes of analysis and co-ordina- tion. This habit of mind necessarily precludes the sensation pleasure in the ordinary meaning of the term; that is to say, the critic would not be able to enjoy a performance in the same manner and degree as an aver- age audience would enjoy, for this clear reason, that the audience has come for the purpose of enjoyment and the critic for the purpose of criticizing. On rare occasions the critic finds that his preconceived stand- ard has been satisfied, and the resulting pleasure is immeasurably greater than that of the average member of the audience, who has no standard at (all, or none more definite than that connoted b; such_:xclamations as ‘Charming ! “Too lovely!" ‘So full of feeling!” and the rest. But in respouse [ received nothing | THE J.FRANK DUGGAN Spring Recitals Easterbrook-Ratner Program. ELDON CARTER will present Rebecca Easterbrook and Benja- min Ratner in joint piano recital in the hall of the Washington College of Music Wednesday evening at 8:15 o'clock. The program will include: *Prelude and Fugue in C Major” (Bach), “Fan- tasla in D Minor” (Mozart), “Au Cou- vent” (Borodin), “Waltz in A Major | (Leviszki), “'Ballade in A Flat Major | (Chopin), “Polonalse in K Major" (Liszt), Miss Easterbrook; ‘“‘Sonata, 53" (Beethoven); “Prelude, Op. 1. ' (Stojowsk! in B Minor” (Brahms), (Rat ner), “Rigoletto Paraphrase” (Verdl- Liszt), Mr. Ratner. Talbott Recital. The Spring recital presented by Mary Tipton Talbott will be held in the Friends’ Church, Thirteenth and Irving streets, Friday evening. Mrs. R. Alvin Richards, soprano; Mrs. Elizabeth Carpenter, accompanist, and | Marcel M. Prevost, baritone, will be assisting sololsts, Jewell Downs Recital. Wednesday evening Jewell Downs | will give the third {n a series of re citals at the Capilol Yacht Club Dancing will follow the program. Those taking part are Ethel A. Rice, Grace Roberds, Mamie Carolyn Gile Edith Hoffman Jones, Henry Cherner, Pauline Kennedy, Elsie Lang, Erna Otto, Willlam Stanley Cuine, Lucile Cawood, Gertrude Swarthout. Alice B. Halg, Adessa Ehrhart, Ivy Loughlen Guy, Janet Stevens, Jessie R. Wilson, Gwendolin Taylor, Glendora Eliason Clement Glebel, Eunice Wartman and Carrie Willson.A | | Lovette Pianist. | Gladys Hillyer, pianist, was pre- sented by T. S. Lovette in a recital | Tuesday evening, under the auspic of the Pianists’ Club, of which she is a_member. Miss Hillyer, it is reported, scemed well equipped musically and techn cally for a somewhat taxing program especially the “Mephisto Waltzer” b Liszt, 2 number which calls for a prodigious technic and memory. A beautiful tonal quality was evidenced | throughout all the numbers as well as an admirable poise. Her program included * 21" (Bach). “Sonata in latti). “Sonate Pastorale” (first move (Beethoven), “Nocturne, F (Chopin). “Preludes Nos. 21. (Chopin), “Praeludium, op. 10, {No. 1 (MacDowell), “Petits FPoems, Minori no Namidi, a Night Song, idi Au-Desous Des Arbres and Pleurant” (Koscak Ya- {mada). “En Bateau” (Debussy) and | “Mephisto Waltzer” (Liszt). *relude No. A" (Scar Piano Recital. Ltta Schmid presented a_ zroup of { children in a plano recital that in i cluded such delightful number: lCcat in the Sun” ‘“The Grinder,” “The Broken Di “The Mouse and the Clock. | Those participating were listed as Evelyn, Elizabeth, Mary, Nancy Jane {and Marjorie Morrison Smith King-Smith Prozrams. Wednesday, Thurs nd yvesterday afternoon the King-Smith Studios formed the setting for u series of | delightful final programs for the year. | A dramatic_recital, including ~ two |plays, Stuart Walker's “Six Who Pass While the Lentils Boil” and Sheridan’s |- chool for Scandal” and a group of araceful dances, was given Wednes- !day evening. Those taking part in| the plays Included Estelle Snyder, | Rita Brent, Theodosia Shaler, Mari. {anna Evans, Catherine Houston |Laura Lejeune, Josephine Goodlett, | | Daisy Holt Huffman, Doris Winar |and Margaret Loughran. The dance | were Beulah Guelofiantz, Theodosi | |Shaler, Marianne Evans, Katherine | Monohan, Laura Lejeune. Josephine | Goodlett and Margaret Loughran. | In the musicals Thursday, which included an afternoon recital and an evening performance that had some 1delightful costume numbers, with sev eral songs by that charmingly ori |inal group known as “Les Fauvettes, |the folloving took part, in addition to those named above: Ellen Nolan, { Virginia Crumbliss, Roberta Kendall |Mary Lewis Harvey, Florence Wag- [ner, Ruth Easling, Marjorie Hulburd, {Anna Wilson, Katherine Watson, Ve- rona Horen, Mildred Hoover, Rosetta | Kromer, Virginia Moore, Preston |Haynes, Cora Sponsler and. Beall | Frost. {" Yesterday afternoon the little tots lof the school gave a short musical |as a demonstration of the remarkable uccess of their methods in teaching rhythm, elemental harmony and nota- tion to little folks. The Imperial Male Quartet. [ THE Imperial Male Quartet, com: posed of W. Arthur McCoy, first | | tenor; George E. Anderson, second | tenor; J. Benton Webb, baritone, and Francls P. Heartsill, bass, with Kath- erine Floeckher Cullen, pianist-accom- P esday. evening at the Union Methodist Episcopal Church under the auspices of the Epworth League. Both thusiasticaily received and many en- ‘cores were requested. The Imperial Male Quartet also sang at the sesquicentennial meeting of the Penfsylvania Seciety in the New Willard, at the annual banquet ‘Washington, in the City Club and at a concert given at the Columbia Heights Christian Church and also over the radio from station WCAP, from which station they will broad- cast another concert tomorrow night. This quartet, although a compara- tively recent organization in its pres- ent form, is becoming well known for purity of tone production and evenly balanced cice blending. jmany other | tician | tion). | tie gave an enjovable concert | solo and ensemble numbers were en- | of the Sales Club of the Typothetae of | SUNDAY STAR, WASHINGTON, D. C., MAY 24, RAYMOND G MOORE GENLVIEVE TARNLLL “Sweethearts' --This Week. RANK MOULAN, purveyor of laughter the Sunday night broadcasting of Roxy an His Gang at the Capitol Theater. New York, comes to Washington to appear in person in the leading comedy role of Victor Herbert’s comic opera, “Sweet- hearts,” which the Washiongtonians, under the direction of Rollin Bond, vill give as their fiftieth anniver- ary presentation at the Central High Community Center at 8:15 Wednes- day. Thursday and Friday evenings Mr. Moulan began his professional stage career with Henry W. Savage in the old Castle Square Opera Com- ¢ of Boston. He has starred in many Broadway productions, notably The Sultan of Sulu,” the “Count of Luxembour The Arcadians” and ew York successes. Mr. Moulan was the stage director and principal comedian of the St. Louis Municipal Opera during its biggest season and for some time past h been the stage director of the Cap- itol Theate ew York, and has spread laughter Nation-wide with his humorous broadcasting with Roxy's gang. The role of Mikel, the poli of Zilania, in_ “Sweethearts,’ been one of Mr. Moulan’s great- est comedy roles. Another distinguished guest artist appearing in this presentation of ‘Sweethearts” by “The Washingto- | nians” is Mme. Jeanne Benedict of the Comedie Francaise, Parls, who has come from Palm Beach to lend The Washingtonians” her assistance in the role of Dame Paula in this, their fiftieth anniversary, present ely actress s Writer of the Music **Sheik has become increasingly the fash- | Rialto last weck, accompanied on the i I ion for the composers of musical | piano by Mr. Snyder, who also gave works to go about the country |a delightfully informal medly of his making personal appearances and hav- | works with his own humming accom. : ing singers and |paniment and occasional assistance musicians produce | from Mr. Guterson's orchestra these works un.| Mr. Snyder hails from New York der their guidance. | and is here on his first visit to Wash- This has become | ington As is customary, he thor quite a well estab- | oughly approves of our beautiful city lished custom with Mr. Snyder also has opinions to offe the writers of |on the undoubted raising in the grade classical works— (of melody- for the popular song hits and a charming |and talks of the difficulty of finding idea it is, for it |lyries to fit the melodies written gives that per-|tempo to suit the dance floor sonal interest in|as the vocal interpreter. the composer by |Stated that it was his belief that the the public that|syncopators who have adapted the cannot possibly be | works of the masters to the cheap gotten in any other | Styles of the dance music are edu- NG new | cating the public into a state of thing to Washing- | mind to appreciate the really fine set- ton is the visit of | tings by the original com) The a writer of jazz | tervific contrast of such nging,” music (only he says there is no such | however, offers much material for thing jazz, merely admits the pos- | &rgument and conjecture. sibilities of moderflstyles in syncopa- — This person Ted Snyder, of the musical version of “The that best-seller of a couple of vy remembers | nd how it » on phono- ph records that buzzed constanty into the Summer night air. Mr. Snyder also has written, among others, “Who's Sorry Now,” “Mys terious Rag.” “A Little Rendezvous,” and the older, “My Wife's Gone to the Country,” that provided the pub- with a catch phrase as well as a popular melody even longer ago. Among his newest are “I Can't For- prano, Ruth Peter, will prima donna role of which she made a triumph four ears ago. Many of the original cast will be heard in this presentation, Raymond G. Moore, baritone, will again play opposite Mi: Peter, while Henriette LeMenager, coloratura so prano, and Edward A. Iiines, tenor, will be heard in the piquant roles of the flirtatious foils. J. Frank Dug- gan will be heard in the role of an Englishman, Wesley B. Peckham, as the Dutchman, and Royal M. Tinker as the Frenchman, supplying three additional comedy roles. The sextet comprising Mother Goose's goslings will {cature Gayle Hunt, Elsie Schulze, Gladys Hunt, Emily Ells- worth, Ivy Stevens and Marlanne Spellbring. Among the “white geese” will be Bessie Doolan, Fontaine Willson, Reine Shea, Selma Schulze, Ethel Foland, Geneva Simp- son, Marguerite Maxwell, Krieg, Myra Johnson Marshall, Jorss Rellley, Bertha We: Smith, Katherine Fisk and Kathryn Henderson. In supporting parts and the male ensemble are Russell Conk- lin, H. R. Hendley, Fred C. Krapp. C. L. Maxwell, W. E. Rice, J. N. Bourne, Gibson Maxwell, I. B. Simon, Fla'd Cooper, C. Alexis, H. P. Chat- field, Jean Stevens, J. B. Peat, R. C. Escherich and J. elhmeyer, with John Paul Jones in the role of the The libretto of Sweet- is acknowledged to be packed with more laughter than any work of the kind extant Reserved seat tickets are on at Jordan's Plano Store, Thirteenth and G streets. sing the in “Sylvia,” in " TED SNYDER. Benefit Concert Successful. CONCERT for the benefit of Colum bia Polytechnic Institute for the Blind was given in Memorial Conti- nental Hall Tuesday evening. Num. bers were rendered by the Marine Band Orchestra and the Columbian Male Quartet. Rev. Earle Wilfley de livered an address, telling of the work and needs of the institute. He was introduced by H. R. W. Miles, presi dent of the institute, in a short talk. To all who helped make the twenty- fifth anniversary such a complete suc- get Your Eyes” and “So Far Away, |cess, and especially to Station WRC So Long 3 *d Hughes, tenor, | for broadcasting the concert, the insti- sang numbers at thetute hereby extends its cordial thanks. HARU ONUKI of his This litte Japanese prima donna will be a feature of music at Le Paradis Roof Garden all this week. picturesque | sale | 1925—PART 3. ° FRANK MOULAN Memorial by “Choir Invisible.” { | | | | OTTO SIMON, Director. HE Choir Invisible, the mixed dou- ble octet of soloists in several Washington churches, organized last fall for radio and stage concert per- | formances, under the direction of | Prof. Otto Torney Simon, will give |2 special memorial service, to be |broadeast from tions WCAP, Washington, and WEA ew York, |and a number of other connections | Wednesday evening from 7:30 to 8§ lo'clock. The program will begin |with the “Reveille,” sounded by a | bugler from the Marine Band, and | will close with “Tap: The sequential arrangement of the |pumbers, bearing a message of con- solation 'to the living and a loving |tribute to the dead, should make this | |an inspirational and impressive serv- ice, which will be heard by many |thousands on the eve of the annual |commemoration on Decoration day. The program will be: The “Re- veille,” “Sleepers, Awake” (St. Paul), |“Cast Thy Burden on the Lord" | (Elijah), “Behold, the Lamb of God. |“Happy and Blest Are They” (St. Paul), “Requiescat in Pace,” “Peace, | Perfect Peace.” and “Taps. | _ The choir is composed of Myra M. Marks, Mrs. C. C. McDonnell, Hazel |G. Hughes, Mrs. R. . L. Seafon and Lael Rose, sopranos: Mrs. W. R. | Benham, Mabel McCalip, Mrs. R. H. Dyer and Frances Bogert, altos George 1. Bayliss, Carson P. Fraile |M. Le Roy Goff and Harold Snvder, tenors; Ambrose Durkin, B. Frank | dieyers, Charles Moore and Alexan- |der H. Galt, basses. The accom- panist will be Pauline Knoeller. The choir was heard from the stu- |dio of station WCAP December 2 and February 16, on which occasions | they received approximately 150 let- |t of commendation from musi- |cians from Michigan to South Caro- lina for their artistic expression and | phrasing. Special Church Music T“]S evening at the Takoma Park Presbyterian Church, Mrs. D. C. Jackson, organist, will give a May program entitled, “A Day in Spring.” The numbers ure: ‘““To the Rising | Sun” (Torjussen). “Daybreak” (John- |som). “O,” the Lilting Springtime" (Stebbin: To a Wild Rose” (Mac- Dowell), ““Where Dusk Gathers Deep (Stebbins), “Nightingale and the Ro: (Saint-Saens). At the First Congregational Church | |a sacred concert will be given in the evening. It will include: Organ pre. oble); an- Twelfth s “Rock _of Ages” (Buck): tenor solo, “Comfort Ye" (Handel), Hilbert D. Kratzer; trio, “Praise Ye the Lord” (Verdi), Hilbert D. Kratzer, Ruby Smith Stahl, John | Marville: anthem, “Hark, Hark. My (Shelly); duet, “In Heavenly Love Abiding,” Ruby Smith Stahl and John Marville: organ offertory, “A. dante Cantabile” (Tschafkowsk quartet, “Fear Not Ye, O (Spike anthem, “By Babylon's Wave” (Gounod); contraito solo, - rect Me, O Lord” (Handel), Goldie D. Hutchins; quartet, Alleluiah _ Forth™ (Buck); anthem, “Halleluiah Chorus” (Handel); orga postlude, “Fantasia in D Minor (Ferry); organist, Charles D. Ferry. from the quartet. | A unique feature of the service at St. Patrick’s Church this morning at 11 o'clock will be the fact that the entire musical program will be given by the mixed choir, Jennie Glennan, director. : The numbers will include: Proces- | sional, “The Countless Hosts" (Grieg ‘Vida Aquam” (Lucchesi), the entire “Mass in A" by Kalliwoda; offertory motet, “Hosanna" (Granier): reces. { slonal, “Sing! Pray!” (J. 8. Bach). The proper of the mass will be sung by {an octet. The quartet is composed {of Edna Hillyer Howard, Caroline | {.”‘I“"‘“g' Royden J. Dixon and James Nolan. At Saint Paul's English Lutheran Church a_ special musical service will be given by the choir this evening at 8 o’clock. The numbers include: “Give Ear,” quartet (Rogers); “It Was for Me,” duet by alto and bass: “Still, Still With Thee,” quartet (Speak), and “Hark, Hark, My Soul,” quar. tet, (Shelley). The quartet is composed of Mrs. B. H. Smart, soprano; Mrs. A. Julian Brylawski, alto; Irving M. Tullar, tenor; J. Walter Humphrey, bass and director, and Mrs. Lockie Kincer Davies, organist. ‘The closing musical service of the season will be given by the Evening Chorus of Calvary Baptist Church this evening at 8 o'clock. Thomas Moss, organist and director, will conduct, and Esther Cutchin will be the ac- companist. The program follows: At 7:30, o) , “Concert Overture” (Faulkes), * MUSIG IVIENNE WINSTEAD, the young planist who will go to Portland to represent this district in the national contest under the auspices of the Na tional Fedsration of Music Clubs, was the featured sololst at the con- cert given last Monday by the Chaminade Glee Club, Esther Lin Kkins, director, at St. Paul's English Lutheran Church Miss W instead has a really fine touch and appar- ently thorough technical train- ing. She puts much individual- ity into her play- ing, which has a professional air to it even while she herself is a most un- assuming and sweet voung person One could hear her play frequently for she takes her art seriously and | seems to have a realization that what is worth doing at all is worth taking pains over. She confided that she does not_feel especially sympathetic toward Beethoven's “Sonata Appas sionata”; yet she played the first movement of it very weil, although a bit nervously. Undoubtedly she did play the first movement of MacDow- ell's “Sonata Tragica” with much more color and spirited interpreta tion. Her nervousness cropped up again in playing Chopin's “Nocturne in D Flat Major,” the left-hand work being too colorless {o give the right proper balance and depth. Debussy's | “Gardens in the Rain” was beauti. | tully played, however, and Brahm's “Waltz,” which was the encore, 4lso | was entirely delightful. | Helen Belt, one of Washingicn's | really talented young violinists, played a couple of Kreisler's things very well. Yue came into her own decidedly ‘in_ Svendsen’s “Romance.” and Willy Burmester's arrangement for violin of Beethoven's “Minuet in which she played with light, sure touch and charming spontaneity. Flora Brylawski has a rich con tralto voice and excellent enunciation. | She sang her numbers very well, but had nothing that required any special skill in either technique or interpre- tation. Dudley Buck's “Sunset” and | the quaint little encore by Gartlan “The Lilac Tree,” were especially well | recelved. The club is constantly improving in | tonal harmony and development of | fine shading. Being still a very voung and comparatively small organization the members bring a freshness of in- | terest and zest Lo their performances that are attractive. The enunciation | is not quite as clear as it might be Gertrude Walter proved an excellent accompanist for both soloists and club. A feature of the choral numbers was “Dear Little Curly Locks, Sleep,” a sweet little song written by Florence Hinman, with accompaniment ar ranged by Flora Linkins, both club | members. Vivienne Winstead. Lawrence Tibbett, young American baritone, whose sensational success | was the event of New York's musical | season, has been engaged for a spe- | clal celebration concert at his birth. | place, Bakersfield, Calif., June 1, and | will leave for the Pacific coast im-| mediately following his final Spring | festival engagement at Evanston, 111 The entire community of Bakersfield | desiring to honor him, the Hippodrome there has been found too small to | hoid his audience, and endeavor is be- | ing made to secure him for a second | concert the following day. June which has also been set aside for a | speclal public demonstration in his | honor. Having recently completed his sea son, Tito Schipa, popular concert and operatic_tenor, returned to Los An geles, where he has had an operation performed on his nose. He has ex perienced considerable trouble with his nose recently and it is believed the operation will bring him permanent relief. He was joined by his wife and | baby, and the entire family are now in Los Angeles awaiting his recover Katherine Fowler and Robert Ruck- | man of Washington, D. C., are among the pianists who will attend Edwin Hughes' master class in New York | City this Summer. | The last program of a successful | vear was given by the Dalgleish | Music Study Club_Mon: evening. | The soloists were Nina C. Stone and Clara Stack. The selections given by Mrs. Stone were “Soul of the Spring™ (Phillips), “Song of a Heart" (Tuni "pageant of Georgetown 25 The pageant that tells the history of Georgetown, attractive one-time | city across the creek—now one of the | most fascinating suburbs of Wash-| ington—written by Alice Coyle Tor-| bert, will be given in the beautiful setting of Montrose Park's amphitheater on Memorial day. Sat- urday, under the auspices of the| Georgetown Citizens’ Association. The | park has a seating capacity for 5,000 | people, and Col. Sherrill has proved extremely interested in the plans for this affai Twenty historic episodes will be enacted, dating from earliest Spanish explorations in 1570 through the pe. riod of the Georges, under Maryland | jurisdiction, and finally under the Congress of the United States. Music will be given by the Wash ington College of Music Symphony Orchestra. Helen Stuart Griffith wiil direct dances. Songs will be sung by Netta Craig, Josephine Stafford Robey and JeSse Veltch. Negro spirituels will be sung by the choir of Christ | Episcopal Church, Mrs. MacRoberts, director. Arrangements of all music for strings was made by Miss Craig and Mrs. Elizabeth Collison-Hill Numbers to be played include: In- dlan music, “Dumbarton’s Drums.” minuet from “Don Juan,” “Hail, Co- lumbla,” Gathering __Peascods, “Oranges and Lemons.” r Alley,” “The Star Spangled Banner, “Meeting of the Waters,” Russian national hymn, “Life on the Ogean Wave,” “Old Black Joe,”” “My Old Kentucky Home," “Columbia the Gem of the Ocean,” “Dixie,” *“America” and “Auld Lang Syne.” e natural | mance” (Debussy), chorus, “Lovely Ap pear” (Gounod), Inez Crater, soprano: duet for tenor and baritone, “Hold! Thou My Hand" (Briggs), Mr. Raymond and Mr. East; women's chorus, “Bless- ing” (Currant); tenor solo, “Gloria™ (Buzzi-Peccia), Mr. Willlams; chorus, “Through the Day Thy Love” (West); | quartet, “Prayer” (Kennedy). Mrs Crater, Miss Weeks, Mr. Ravmond and | r. East; chorus, “Sing Unto God, O e Kingdoms” (Harker). The evening service at St. Mark's| Lutheran Church will be the final musical service this season. It will begin promptly at 7:45 p.m. The num- bers will be: “Ho! Every One That Thirsteth” (Martin), with bass solo by Willlam M. Hanft; baritone solo by G. H. Lambert; quartet, “I Sought the Lord"” (Stevenson), with alto solo by Helen Newmyer; soprano solo by Laura G. Hayes, anthem, “How Lovely Are Thy Habitations,” with solo by Dr. A. L. Simpson, tenor and director. There also will be trios for violin, cello and organ by well known musiclans. Lucy H. Paul, organist, who b~ recently joined St. Mark’s Cholr, _ill play. Members of the choir, besides the soloists, include Anne Borjes and Selma Trede, sopranos, and Katherine Gross, alto. | piano, { My | overture, | “Blue ally in Our |, RAPHS “Mammy’s Lullaby” (Jamison), Rose” (Tunison) and “Till (Mascheroni), while Miss Stack (Nevir), “Pustoral” (Ry- ' (Weil) and “Salve Re- gina” (Dana). Mrs. Edith While and Mrs. Thomas A. Schilling sang a duet, “Wanderer's Night Song" (Rubin- tein). The accompanist was Pauline Knoeller. Death sang ber). Tonight Frances Gutelius will pre- sent an hour of music at Walter Reed pital, assisted by Gretchen Hood, hel Payne, Elizabeth Harris, Am. Durkin and a group presenting Toy Symphony,” by Haydp. This symphony has proved a mark- ed success as presented by the Vipi- voce Music Study Club of 26 chil- dren. Following its first performance at the club members' recital in M telius’ studio several weeks ago, it was played by them at the Y. W. C. A. Wednesday night.and wiil be given the coming Wednesday night at the Reformed Church, at Thirteenth and Monroe streets. The children have enlarged their repertoire to include the Romberg symphony and the song ‘Kentucky Is Calling You'—sung, played and whistled. Netta Craig, bass-baritone; soprano: Fred East, Helen Cleven, reader, nd Inez Becker, violinist, with Mrs Clyde Grimes, accompanist, will far- nish the prezram at a reception Wed- nesday given by the members of the Congress Street M. P. Church, George- town, to the minister of the church James A. Barr, tenor, sang at a dance given by the Indiana State So clety at Rauscher's Monday. Mr. Barr’s selections included Glordani's aro_mio bon,” Blaufuss' “Your | Eves Have Told Me So” and “The Li lac Tree,” by Bartlan Miss Vallara Shires was the ac companist. Edna Bi her weekly hop Daniel has resumed lass lectures in her at- tractive new studio, at 1342 New York avenue. Last Thursday eve- ning her subject was “The Vocal Muscles and their Assistant: A song revue by those present fol- lowed. Mary Helen Howe, coloratura so- prano, will be the soloist at the joint memorial serxices held in the ro- tunda of the Capitol today at 3 o'clock by Grant and Lincoln Circles, G. A. R. The public is invited. Sva Whitford Lovette, mezzoso- prano, was solgist during the week at a musical tea in New York, given in her honor by Mrs. Adele C. Wright at her home. Mrs. Lovette sang songs in Italian, French, German and English and was accompanied by Edwin Hughes, the well known pi- anist, formerly of Washington. Community singing led by Esther Linkins, with Mrs. Charles E. Haupt as accompanist, was a feature of the afternoon program for Founders' day. celebrated Wednesday at the Luth eran Home for the Aged. Mme. Ruby Gerard de Laet, violin soloist, will present a recital in the palm court of the Mayflower next Sunday evening. Mme. de Laet will be accompanied by the Knabe-Ampico isted by the Mayflower or- The public is invited. Mme. program will include: “Ave (Schubert-Wilhelmjl), “Sere nade (Schubert-Elman), “Liebes. freud” (Kreisler), “Romance Ondalu sia” (Sarasate). h Mor Fdith Miller Haring, soprano, has returned from a Philadelphia engage- ment. She was soloist of the evening at the Ardmore Chamber of Com- merce annual banquet held at the Brookline Square Club. Her program included “‘Sunbeams” (Ronald), “Deep River” (Burleigh), “Rondel de L'Adieu” (De Lara), “Vergebliches Standchen” (Brahms), “Cargoes’” (Dob. son), “‘Se Saran Rose” (Aediti). Christing M. Church, soprano, of New York, visited friends in Wash- ington this past week. While here she gave an informal program ac | companied on the piano by Edith B hey. Her songs were Fletcher's mile of Spring,” Eden’s “What's 1 the Air Today,” “My Messag d’Hardelot. Woodman's ‘“Love's in Heart” and Fenner's “Spring Dropped & Song Into My Heart.” Miss Church has just been re.en- gaged as soprano soloist at the First Presbyterian Church of Englewood, N. J., and the Eighth Avenue Temple of Brooklyn, N. Y., where she sings under the direction of Robert Gaylor. Navy Band Concerts. ’l'HE program, Tuesday, at 7:30 p.m., at Reservation 170, Vermont ave nue, Tenth and U streets northwest, by the United States Navy Band, Charles Benter, director, will be: h, “Distant Greeting” (Dorin) “Orpheus in. the Under world” (Offenbach); ballet divertisse- ment. from “Henry VIII” Saens); selection, “Italian Foll (arranged by Clark); waltzes, of Roses” (Brooks); suite, “Celebrated Minuet” (Boccherini) and “In a Rose Garden,” reverie (Acciani); excerpts from “The Firefly” (Frimi); popular Oh, Katherina” (Fall); finale, “The Star Spangled Banner.” Wednesday's program, at 6:30 p.m |at the band stand, navy yard, by the band, in commemoration of Decora- tion day, will include: March, “My Own United States” (Edwards); rhap- sody, “Northern” (Hosmer); medley, “Way Songs of the Boys in Blue” (Laurendeau); patrol, ““American’’ (Meacham); grand scenes from the ouera “Ernani” (Verdi; suite, “Rustle of Spring” (Sinding) and “Eili, Eili," Yiddish song (Katz): mazurka caprice, Violets” (Eilenberg); waltges from “The Red ill” (Herbert), ex cerpts from “Naughty Marijetta’ (Herbert); popular, “Me and the Boy Friend” (Monac: finale, “The Star Sl&l\zl@d Banner."” MUSICAL INSTRUCTION. TON FRV A 3 U H edioining 1 Dupont Crele. Start now Spririg Yerm Enter the ehildren Practice rooms. Yearbook. Main 7858. ¢ MISS AMY CLEMENT LEAVITT PIANO. VOICE A HARMONY Coaching and Aeccompanyin T06_Eleventh Street W. . Apartment 53. SAXOPHONE 1ano,” Tenor Banjo. Guitar. Druma, etc. In 10 to 20 Lessons Rag. Jazz and Popular Music a specialty Come in, write or phane for booklst. Fres lessons it you buy instrument from u CHRIN SCHOOL OF MUSIC. Main 1278. ASHT 1408 N P ANDOLIN. GUITAR, AN GUITAR AND LEL) Ensemble Practice with the Nordica Clubs. Established 1894. PHONE COL. 946. 1801 COLUMBIA RD. SPECIAL SUMMER TERM BESSIE N. WILD Voice Culture, Piano and Harmony. Studio. 6824 5th st.. Takoma Park, D. C. Phone_Adams _5549. SUMMER SCHOOL Washington College of Music —Twenty-First Year— Special term from June 22 to September 7. g%&sfllflm—gfinrn—.}olnn: and & 3 ‘assist will taach 55 71417th St, Yearbpok Fr.4491