Evening Star Newspaper, July 31, 1927, Page 62

M U BY HELEN FETTER. USIC is becoming really pop- ular, more and more in these United States. There are 38 organizations which are sponsoring operati¢ productions, regularly or spasmodically, but at least productions, throughout this country. There have been 24 new operas given their premieres in this country which were outstanding st performances, between October, wnd April, 1927, Also 176 sym- works within' that period en first production in Amer- cs, New York, of course, g the .largest number, but r cities, including Washington, g in the list. These facts, and a number of rs equally interesting and en- aging to those who are keen to America progress along cultural F pleasantly set forth in the tly issued Musical America’s Guide for 1027, which is, as the cover a digest of the musical re- sources of the United States and Canada.” This guide, which has been published for several scasons, now is improved in ecach issue and seems to cont really useful and valuable information, admirable both for accuracy and up-to-datencss. In addition to the new feature which lists data concerning premicres in this country of operatic and sym- rks, another novelty with current issue is the guide to festivals. The fact that such a guide was found pra able sws not only the increase in the and variety of European entertainment during the r month t also shows the increased patronage such festivals find with the American public who go abroad.” Even behind these acts lies the most basic fact for pro- found appreciation, and that is the fact that Americans are becoming sufficiently interested in music per se to make the attendance at these fes- tivals an integral part of their plans for “secing Europe.” The_splendid work of the Ameri- can Federation of Music Clubs is well set forth in this guide. Com- L8 on the expansion scen within he past few years in fields of light and grand opera alike, are interest- ingly expounded. The business of making a musical debut in New York is discussed with frankness and facts. The growth of musical educa- . tion in America is tredted editorially. .In this article it is interesting to find lowing statements, not espe- rope’s the foll cially novel, but given from a slightly different angle than we are accus- — tomed to hear. It says, in part: “It is a commonplace of our day that European training is no longer essential for an American profes- sional student, who can find in this country excellent and’authoritative teachers in every branch of technic. ‘What is not so generally recognized is the fact that the amount of musi- cal instruction provided in the gen- eral educational system of the United States surpasses that of any other |nation. “From its small beginnings less than a gentury ago, public school music has made extraordinary prog- ress. In 1828 Lowell Mason and Wil- liam Woodbridge startedtheir efforts to introduce music intd the curric- ulum of the Boston public $chools. 'At that time there was a strong prejudice against music as a part of the common school education, and Ithe first experiments were carried on in conjunction with the newly founded Boston Academy of Music. ® * * Other cities followed the pioneer example of Boston during {the next four decades. Buffalo es- {tablished music in the schools in 1843, Pittsburgh in 1844, Cincinnati in 1846, Chicago in 1848, Cleveland and San Francisco in 1851, St. Louis in 1852, New Haven in 1855, Providence in 1856, Salem in 1858, Baltimore in 1859, Philadelphia in 1860, Lowell in }gg{g Troy in 1873 and Portland in 76. In Washington, it might be added that although there was music in the public schools, it didn't amount to anything to get up and shout about until about 10 years ago, when it began picking up and getting to the real facts for students to absorb rather than a very superficial ‘gen- eralized style of giving music to the students. ~ Now the major music | credits established in the public school work and the elementas; musical training given the very smz{l children in the grades are doing much to awaken and sustain a real linterest in the musical studies among students generally under the current regime in the public schosls. More credit to Dr. Barnes and his corps of fine, carnest assistants, To return to the Musical America Guide, it also lists leading organiza- tions, musical activities in cities all over the country, artists available for professional engagements, schools of mu and dircctors, representative music teaclers, conventions, festivals, etc. In the prizes and scholarships for 1927-8 we find in the list of 49 offers one from Washington, D. C. The Rubinstein Club of this city of- fers a-$100 prize for the best choral composition for women’s voices, with or without solo parts. Taken all in all, the guide is very wide its survey. The only coun- 1ouched in any way for mu s are those of the Orient South American countries, hich latter countries they are g at this time the height of a lliant “Winter” season while we z to the radio programs available, with electric fans and cool | grinks as essentials to completing a | comfortable picture. et HILE on the subject of young America’s musical progress 1t is interesting to review a few of the statements made recgntly in a let- ter written this month from Milan, Italy, home of La Scala Opera, by Herbert M. Johnson, manager of the Chicago Civic Opera Co. He speaks especially on the subject of “Italy, a paradise for musical agents, and their number has become legion,” that and adds: “vidently, the sort of thin% is discussed to the discredit of Italy in drawing rooms in New York and Chicago, and which scandalizes the sewing circle at Richmond, Ind,, and the Tuesday Club at Cedar Rapids, Jowa, has reached the ears of the -powerful Mussolini, for the gov- ernment is reported to be closing all the agencies with a view to estab- lishing a central bureau at Milan, with banches where needed, to serve the interests of the public, im- presario and artist. * * * It is the desire of the hour to provide new ,:and greater protections than artists ) SIC ever have known in this playful land, where opera had its origin. This should be of more than passing in- terest at home, where a majority of the younger generation who aspire to serious vocal study have their ves on Italy as their goal. The sweeping changes that appear immi- nent in the Italian musical situation are of more than passing interest throughout America, for it must be remembered that Italy furnishes our great clinical laboratory for song. sters.” 3 * % ¥ X HE newest wrinkle in the idea of a grand opera prima donna go-, ing into the cosmetic trade has just been announced from headquarters in Paris, France, where Mme. Ganna Walska, wife of the Chicago mil- lionaire, Harold McCormick, and a persistent seeker for operatic laurels, has opened a beauty shop in the Rue de la Paix, The above-men- tioned newest wrinkle lies in the fact that Mme. Walska's associate in this undertaking is Dr. Serge Voronoff of monkey gland fame. .It is te- ported in the dispatch received that not only creams and powders will be sold, but surgical work - will be included, in which noses will be straightened, skin lifted and other rejuvenations made possible for those who may scek them. Mme. Walska also wilk continue her musical career, however, setting forth almost immediately for a tour in southern France. * K% % A ambitious and energetic local singer, Julia Culbreth Gray, has recently been given an opportunity in a field that is new to her, and she seems to be making good, consider- ing the response of the audiences at large last weck to her efforts. Mrs. Gray, a contralto, who is well known here in church music work and for costume and chartcter song recitals, in co-operation with Mr. Robbins of Keith's Theater, appeared on the regular bill last week in a group of “Southern Melodies.” Mrs. Gray seems to have a flair for this type of song, and her voice is strong and her enunciation clear and distinct. She appeared on the stage in a charming irock of “ante-bellum” hoop-skirt design, made of white taffeta, sprinkled in the good old-fashioned way with yellow rosebuds and re- vealing coy glimpses in its generous swings of many-ruffled pantalettes beneath its wide brim. She sang several spirituals, including a num- ber by a local composer, Wellington Adams. Her star number, however, seemed to be the intefpretation of a very old dialect version of that bibli- cal subject, “Adam and Eve in the Garden of Eden,” which she does with individuality and authority. * ok ox ok HE vogue for music contests seems still on the increase. Also the idea of festivals where festivals have never bloomed before. is blos- soming in new territory. Canada, northern sister of the United States, possessing many attractions that are unique and others that formerly ex- isted in this country, But are now.| legally historic, sends much informas tion along both lines of prizes and festivals. . From Quebec comes the follow- ng: The remarkable success of the THE SUNDAY Columbia Male Quartet Has Many Engagements HE Columbian Male Quartet—W. Madison Taylor, first tenor; W. E. Braithwaite, second tenor; Raymond 1 G. Moore, barltone, and John C. Smith, basso—featured the musical portion ! of the program at the first meeting of | the newly organized Rotary Club at| Leesburg, Va., last Thursday evening. ! Many Rotarians from Washington and neighboring cities were in attendance ¢ evening this quartet sang as | B. & A. Quartet for the twelfth consccutive week through ra: dio station WRC, in a program spon- soréd by the Washington, Baltimare & Annapolis Biectric Raflroad. Thelr ms have been of request num- xclusively, and to date they have sung 100 different selections. Wednesday the quartet will go to Purcellville, Va., for the fifth consecu- tive year, to flll a five-day engagement at the "annual Purcellville Bush ceting. homas Moss fs coach and accom- panist to the quartet. — rooks, Tenor, Sails for Europe WITH high se of crities and audiences in Cinecinnati, Minnea- New York and other American still fresh in his ears, Richard Crooks, one of the most brilliant of young American tenors, will sail for Germany August 14 to make his grand opera debut in Berlin. M Crooks is listed for his only appeararnice in Washington next sea- son in one of the flve concerts for members of the Saturday Evening Concert Club, The club is under the 1uspices of the Washington Natlonal Opera, with headquarters at 1814 G street, and its membership 1s open to all lovers of music. Tickets for the club concerts, it is emphasized, will not be placed on sale to the gen. eral public, but will be issued only to members. The club fs not a com- mercial venture and the cost of mem- bership is nominal. Other famous artlsts who are to appear in the concerts include Luella Melius, who scored such unusual successes in her appearances ih operas here last sea- son; theé London String Quartet, and others. * Mr. Crooks was hafled as a sensa. tional artist at the annual Cincinnati May festival this year, ric Wagnerian Music Featured. ESA ALSEN, renowned Wagnerian soprano of the Chicago Civie Opera Co., and Judson House, distin- guished tenor, will be the soloists to- day at the afternoon and evening con- certs in the Steel Pier ballroom, At- fantie City. Mme. Alsen was born in Russian Poland of a Norwegian father and a French mother, She began her brilliant career as a contralto before the great beauty of her upper voice was recognized, and soon thereafter hecame known in Europe as a great Wagnerian singer. Mme. Alsen was soloist in 14 European cities in 1920 in observance of the 150th anniver- sary of the birth of Beethoven. Among the arias and songs included in the Sunday program, which in- cludes a radio” program, Mme. Alsen will by request aing the Valkyrie call, “Ho-yoto-ho from Wagner's “Die Walkure,” She will also sing “Elsa’s Dream,” from “Lohengrin: “Dich teure Halle,” from ‘“Tannhatiser’; “Traume" (the study to “Tristan and Isolde”), and songs by Hugo Wolf, Schubert, Brahms, Lenormand, Rach- maninoff, Weingartner, Winter Watts, Clara Edwards and Edward Horsman. She will sing with Judson House the duet from “Cavalleria Rusticana.” Mr. Housa will sing two arlas, “Ah, Moon of My Delight,” by Lehmann, and “O Paradiso,” from Meyerbeer' “L’Africana,” and songs by Protheroe, Campbell-Tipton, Coleridge-Taylor, Kghn, Purcell and Hammond. Heads New Class folksong festival recently held here at the Chateau Frontenac has cause E. W. Beatty, chairman and-presi way, to offer $3,000 in prizes for th: best musical compositions based on | French-Canadian folk melodies or | chansons populaires that are submit ted up to December 15, 1927. A de-| tailed official announcement, just is-| open to all nations, except for two | prizes aggregating $500, which are | confined to Canadian composers. The | fiye prizes are to be awarded as fol- lows: on French Cansain dogk meloater 1o bavei orchestra. not to exceed 25 ingtruments, and not 1o lakt longer than 40 mihutes. . but divided Into $750 and,| for a can $250 for libretto, avd the | ivided Into $150 for music | ibretto. | $250 to and $100 for 00 for a suite based on French- dian folk melodies. for siring quartet, 0 Jast Over 20 minutes. | 4-—2230 for a group of arrangements of four French-Canadian chansons populaires for male voloes. a not roup of arrangements of an - changons populaircs The last two prizes (Nos. 4 and 5) | are confined to Canadian composers; | the others are open to international competition. The works sul;mmcd‘ must be original compositions and must not have been previously pub. lished or performed. Further details can be had from the secretary, Cana- dian Folksofig Festival, room 324, Windsor Station, Canadian Pacific Railway, Montreal. From Banff, Alberta, a statement announces: With a hundred medals | of gold, silver and bronze offered for | supremacy in,singing, dancing, games and piping, the Scottish communities in the Canadian west are looking for- ward with keen interest to the High- land gathering and Scottish music festival, which is being organized for the first week in September at Banff, and to which the Prince of Wales has given his patronage. Although ! there have been highly successful| Scottish games held in yarious parts of Canada, these have been mostly of local interest and lasting a single | day, but the Banff gathering is lanned to last three days and will have a national character. Each of has been authorized to sead a piper to compete for the trophy for regi- mental piping offered by E. W. ty, president of the Capadian Pacific Railway. The rules for this compe- tition have been drawn up by Col. Alexandet Fraser of Toronto, the leading authority on pipe music on this continent. Many of the finest exponents of Highland dances in western Canada have intimated their intention of tak- ing part, and the tourist capital of the Canadian Pacific Rockies will be ablaze with tartans. Tossing the caber, putting the shot, throwing. the hammer and all the games in which brawny Highlanders are expert will, of course, ge conducted. Lucien Hubbard is writing the con- tinuity of “The Legion of the Con- demned,” John Monk Saunders’ story, which will be produced by Paramount late this Fall. It deals with a group of dare-devil war heroes—men for whom no task was too dangerous, no dent of the Canadian Pacific Rl&t«l 2 sued, indicates that the contest is, ' 0 1o be divided into $500 |f | accepted the position of head of the | the special Summer scason and the | pany. the 17 Highland regiments in CalladJiAmarlcnn P2n Women. IRENE JUNO. 188 JUNO, who has been engaged for some time in work as thea- er organist at local houses, has jus. new department in theater organ in- struction of the Washington College of Musle. The class is open now for regular I term class begins Sep- tember 15. Miss Juno states that as soon s students of that department seem sufficiently qualified, positions will be found for them through the services of an established organ cogi In addition to handling’ this new class, Miss Juno is quite active along other lines. She writes news, feature articles and reviews for six magazines regularly and weekly articles on new music for a magazine in Chicago. Last Winter she was assoclated with Harrlet Hawley Locher, head of the educational department of the Cran- dall theaters. Miss Juno did a number of articles on music for the children’s Saturday morning shows. She has also | served as chairman of the music com- | mittee of the Soroptimist Club during the past vear and is active on the national music committee, League of Irene Juno first studied music in Ithaca, N. Y., and got practical train- ing playing with motion picture or- chestras as they developed along with the more pretentious pictures. Then she took up directing for vaudeville road shows and holds the distinction of heing featured for two seasons on “big time” as the only Woman leader of an orchestra playing with big mu- | sical comedies. g Mies Juno studied organ with Dr. J. Fowler Richardson of London, Eng- land, and of New York City. She also had instruction from Ernest Moller, mechanfeal expert in building and car- ing for organs, and the nephew of M. P. Moller, the well known organ build- er of Hagerstown, Md. Then Miss Juno was a featured organist when Moller organs were installed in houses of thé Pennsylvania circuit and in two and a half years she established quite a reputation in that part of the coun. try in that kind of work. She played Crandall’s Strand Theatér organ in Cumberland, Md., for oné year and then returned to Washington two years ago. Since that time she has progressed steadily and won increas. chance too big to take. Gary Cooper is being considered for the leading role. SN et ing recognition for her abflity, Initia. tive and achievement at different or- sang §a local theaters, [ | tions. STAR, WASHI NGTON, D. C, JULY 31, b 927—PART 3. - e e ——ee e HARRY WHEATON HOWARD. HILE other people fret at the jagz music and it ef- fects on the youth of to- day, Harry Wheaton How- ard has proved by action what can be done to interest these same young people in music that has a healthier ring to it. There is no one in this elty, and probably never has been any one individual here, who has had more whole-hearted concern and sympathy for the youth of Washing- ton and thefr developing the right sort of musical interests than Mr. Howard. And he knows whereof he speaks. It is with no idle tongue of the mere dabbler in music that Mr. Howard offers not only words but in &ddition music to remedy conditions. Born’ October §, 1§70, Harry Whea- ton Howard began the study of the plano when 8 years of age. He was interested from the first in the crea- tive branch of music. When he was in the sixth grade at school he was excused one day to visit a school in a distant part of the city in order to hear the entire school sing a chorus which he had composed at the request of the teacher. Later Mr. Howard studied plano with William Waldecker, one of the foremost of local musiclans and teachers. In the old Central High Bchool he helped to organize a glee club, and was its director and pre- centor of the school. In 1888 he went to Berlin, Germany, and studied in _8tern's Conservatory, and later with Xaver Bcharwenka, Harry Wheaton Howard returned to ‘Washington in 1892 and became organ- ist of Calvary Baptist Church, where the quartet was composed of Mrs. Nellle Wilson Shercliff, Mrs. Julia Bodfish, Georgs Lillybridge and Charles Rice. Mr. Howard then engaged in vari ous musical activities. He played for the Choral Society, conducted several performances of cantatas and secular works in different churches, and brought out several original composi: He returned to Berlin in 1895 and entered the Hochschule fur Musik (Royal High 8chéol of Musie), from which he was graduated in 1897. Then he went to Paris for a year. He returned to Washington in 1898. Mr. Howard left the position of or- ganist of the Church of Our Father to Jjoln the International Grand Opera Co. as assistant musical dfrector and had a_season of experience “‘on the road.” He then became organist of Holy Trin- ity Church, Georgetown, and trans. ferred from there to the Church of the Immaculate Conception in 1900, He hag held the position as choir- master thers since that date up o the present time. Also, it {8 with the choir_boys and girls of that church that Mr. Howard has been able to put on some admirable light operas, both well known classics such as “Pina- fore” and “Plrates of Penzance” and & number of his own operettas on emi- nently suitable subjects for study and performance by young folks, yet with maturity and thoroughly professional composition and original, charming librettos as well as music. In 1907 Mr. Howard conducted a season of grand opera under the direc- tion of Katie Vilson-Greene, well known_concert manager here. Mr. Howard collaborated with Mrs. Albert Clifford Barney, patron of the a and composed music for her work entitled “About Thebes,” which enjoved a genuine success when it was produced here. Other activities of the energetic Mr. Howard included direction of the Mu. surgla Quartet and serving as head of the piano department of the Wilson- Greene School of Music duting the time of its existence. He also has been accompanist for many famous singers. Mr. Howard was dean of the local chapter of the American Guild of Organists for three years. At pres. ent, in addition to his operetta produc- tions and choral work, Mr. Howard teaches individuals. When asked what he considered a prime need of Washington at this time in music, Mr. Howard sald: “I have spent my professional life endeavoring by means of influence with young people, both as teacher and promoter of entertainments, to combat the deteriorating influence of the modern popular musie, that is, the music (?) which is promulgated solely for the purpose of making money for the publishers and creators, with no attempt at artistry, with no literary or musical merit; stuff which, Hke an insidious drug, has stimulated the minds of the young people of the age. “I cannot give too much praise to the work being done in the public schools, particularly the high schools, to elevate the taste of the children for good music. I seérved for years as one of the board of examiners for major music pupile at Central High School and.was struck with the marked up: 1ift in the quality of thelr work and their genuine enthusiasm for the best of the arts.” The 1iat of Mr. Howard's composl- tions 18 a long one. Among the oper- ettas which he wroté that have been Put on this past season with gi cess are “'Rose of the Pralriy and the Bean Stalk,” “The Cannibal King,” and also he gave several ex- cellent amateur performances of Au- bet's “Fra Diavalo.” A work that Mr. Howard wrote a number of years ago for which the libretto was written by Willlam H. Landvolgt, prominent in newspaper Work here, especially as a writer on dramatic subjects for The Star, 18 entitled “King Yvetot,” a mel ry tale of a mythical King of Frai with a particularly jolly bass solo, “A Jolly Old Monk in His Cellar Sat.! And there are many others. - Mr. Howard confesses to two other hobbies in addition to his musical in- teresta. They are astronomy a viewed through his fine telescope and an un- usually interesting stamp collection. Modern Music and Exhibits in Frankfort Festival BY HENRIETTA STRAUS. Franktort, Germany: Frankfurt i8 having & fmusic festi- val of which any city in the world could well be proud. ‘“Exposition” would perhaps better describe it, for besides daily performances and lec- tured covering m@sic of all varieties and nations there is an “exhibition” of intruments, manuscripts, sketches and models that make this undertak. ing, which will last until August 28, the most complete of its kind probably ever attempteds The instruments alone seem to include every kind ever invented by man to make music, from the classic lyre to the prosai¢c gramo- phone, and from the drums and brasses of the barbaric races to those of clvilization's latest products—the jazz band. There are sixteenth cen: tury lutes and guitarres and seven- teenth century virginals and spinnets inlafd with ivory and mother-of-pearl: violas d’amour and violas de gamba and violins from the gnldén»hufldl Guarnerius to its model in porcelain; gayly painted little hand organs and larger, clumsier lnulrume‘nls locmg;;o ried in religlous procegsions: rxavlchord-:and “klv"figel' decorated inside and out in delicate colors and desighs and medallions of ivory and inlaid with mother-of-pearl, ivory and even tortolse shell; “girattflugel” with tall, neck-shaped cases; ‘nahetisch’ clavier—a combination of fkeyboard and sewing table, and desks from which one pulled out :1; keyboard as one would a drawer. Liszt used such a dewk, it seems. There are besides all the modern pianos, including those used by Lisst himself, of which there seems-to be an endless numbe: Judging the festival of the Inter- national Soclety for New Music, in the light of past history, the society has undoubtedly won its initfal pur- pose, namely, the right of new music to be heard. But now that this right has been won, the fiuh"c may well question why all of this music should be heard. Six years ago, when the soclety pre- sented 52 composérs within 10 succe sive days, one cauld understand th lack of discrimination. The war had disrupted musical life, and composers were eager to renew contacts and catch up on all that they had missed. Moreover, the modern tdioms were themselves too new for people to be sure of their judgment. 8ince then, however, much of this muslo has flowed under the bridge, for practi cally every musical capital in Europe and America has had its soclety, un- der one name or another, for the giv- ing of modérn music, 80 that there has been ample opportuity to listen and learn and to set up corresponding standards. And yet, judging from the amount of rubbish which the Interna- tional Soclety has {um presented, such standards have still to be formed. Nor is this criticism tg]"»llcahlo to this or- ganization alone, for the same weak- ness prevalls among all three societies for modern music in New York, for instance. The result is that time after time one finds the public reduced from keen expectancy to boredom and dis- illusion. And this 18 what occurred at the present meeting in Frankfurt. A brilliant international gathering of distinguished musicians, critics and laymen packed the opera house for Busoni’s “Doktor Faust,” with curi- osity, at least, if not expectation run- ning high. The disappointment that ensued was somewhat ameliorated by the banquet which followed on its heels in the magnificent Roemerberg, and which was given by the city fathers to members of the press and the International Bociety. No such conditions of cheer, however, followed either the first chamber music concert or the first orchestral one of the two succeeding evenings, and the audience, with good reason, began dropping off: The first concert. of this festival, June 30, bégan with an interesting pro- gram of chamber music. Heading the list was a string quartet by a young composer from Soviet Russia, Alex- ander Mossolow. ~The quartet was numbered as the first, Op. 24; but first or last, it would have done credit to better known names than t it bore. Written -with & terly technique and in an ultfamodern idlom, it did what few works of today scem able to do, namely, to turn this ldiom into_a living and expressive language. Intensely Russian in char- acter, it was the Russian of the Tartar rather than of the drawing room— wild in humor, rhythmic in energy, delicately savage in its moods. As a result, striking and original effects seemed to spring unsolght, as from a natural expresaion, while the work as a whole, in retrospect, contained more emotional vitality and. musical imagt- A Former Great Singer pleads fol’ Opera HO“SCS 'WO important new phases in the musical development of this coun try now confront the young American singer, according to Mme. Marce Sembrich, former prima donna, now director of the vocal department of | the Curtis Institute of Music in Phila- | delphia. The first is that it is now to the advantage of the Amerlcan singer to be trained in this country; the second is that the educational ad- vantages now existing America should be supplemented rtn nitles for experience in and | concerts such as can be in Burope. “Singers can still profit by lingulstie | advantages abroad as well as by the general Froadeéning Influence of trav. el” Mme. Sembrich s=aid recently. | “The next step should be to find some | outlet for the ultimate careers of our | young talent, and this might well go | hand in hand with the general mu-| sical development of the Eountry, through the cwveation, as Mr. Tullio Serafin recently suggested, of opera houses fh many cities whose wealth and importance would make the pos- session of such institution in a| European city of the same caliber a | matter of course. “Hag not the time come for Amer to do for her own what the count of older musiagl cuilture have lon been doing? As a rule, experience singers only are demanded by the es- | tablished companies in America. Where, then, are the American men and women with fine voices and nat. | ural gifts, well fitting them for the operatic stage, to make their careers? “It is unthinkable to do so by checking the rising tide of native tal- ent. The obvious alternative, there- fore, Is to call upon the wing love of music, the patriotism and the wealth of this great country to create opportunity. The conditions abroad offer many reasons Why it is Incr ingly difficult for young American ‘singers to continue the practice of beginning their caveers in Kurope. Must we not make it possible for them to do so at home?"” in by opp opera tound an 0 nation than most of the five days’ pro- grams combined. Nor can one easily forget the exqul slte skill with which it was played by the Vienna or Kolisch (as it is some- times called) String Quartet. Kolisch is a brother-in-law, I believe, of Ar- nold Schoenberg, and undoubtedly re- cieved much of his training in those strenuous years when Schoenberg was glving concerts of modern music in Vienna behind closed doors and win. dows, and devoting as high as 30 re- hearsals to tuch works as his “Pierrot Lunaire.” Certainly, it was training that told fn this_instance; and this performance by Kolisch Quartet was not only the high water mark reached by any of the various instrumental en- sembles during the festival, but one of the most brilliant and understanding performances of a mew work in the ultra-modern idiom ever heard by this reviewer, The rest of that day’'s program con- sisted of a sonata for flute and piano by a young Dutchman, Willem Pijper, with the composer himself at the plano; a ‘“Concertino” by Loos Ja- nacek, dean of the Czechoslovakian composers, for piano, two violins, viola, clarinet, horn and bassoon, and a plano work, “Le Danza del Re Da- vid,” by Mario Casteinuovo-Tedesco, of the younger school of Itallan mod- erns. The Pijper work proved charm- Ing, but banal; the “concertino,” played with great fire and poetry by Ilona Stepanova-Kurzova of Prague, held more emotional than musical interest; while the Castelnuove number, -per- formed with great technical brilliancy by Walter Gieseking, began with an arresting bravura and rhythm, but failed to sustain interest throughout its overgreat length. The second concert, for orchestra, Idid not hear, It consisted of Henry F. Gilbert's “Dance in Place Kongo, which the Metropolitan gave as a bal- let some years ago: a “Seventh Suite, op. 48.” by Josef Matthias Hauer, an Austrian; the Danish Carl Nielsen's “Fifth Symphony,” and a piano con- certo by the leading Hungarian mod- ernist, Bela Bartok, with the latter at the piano. The Gilbert number was conducted by Sandor Harmati of Omaha, Nebr.; the Hauer by Hermann Scherchen of Berlin, and the Bartok and Nielsen works by Wilhelm Furt. waengler. While T did not hear this concert, from first-hand reports [ dld not miss much. According to my in- formant, a distinguished criti first two movements of the Bartok concerto were very banal, while the Nieleen symphony “might have been written by Niels Gad The second chamber music concert began with two deadly dull stiing quartets by Conrad Beck and Wladi- mir Vogel, respectively, the first a 3wies and the second a German. Their dullness of content was only equaled by the playing of the Amar Str Quartet of Frankfurt, of which Paul Hindemith, one of Germany’s leading modernists, is the viola player. A con- certo by Alban Berg, a pupil of Schoenberg’'s, which came next, left one wondering why tiis work—for plano and violin, with an accompani- ment by 13 wood winds—needed so many instruments to produce such fteeble and ineffectual sounds. I did not remain for the last number, a “Magnificat,” by Heinrich Kaminski (German), for sclo soprano, solo viola, orchestra and small ohorus. The next morning (Sunday) was dis- | tinguished by what, from all accounts, | was a really beautiful work, an o) torio by the Jugoslavian composer, Bozidar Birola, on the “Life and Medi- tations of the Holy Brothers an Slavio Apostles, Cyrill and Methodius. The same could not be eaid of the evening concert, which began dully with the French two works—a, choreo- | graphie work, “L'Oftrande a Siva,” by Claude Delvincourt, and a “Cantique su Solell de St. Francols d’A: y for soprano and orchestra, by Ra. mond Petit, both works conducted T Walter Strarum. The flagging inter- est of the audience, which last had been steadily dwindling ever since the opening concert, was, however, roused to great enthusiasm by Ernest Toch's piano concerto, which followed. Toch, of the ultra-modern German school, is distinguished, like others of this school, by a tremendous animal ene: rather than emotional vitality. Un- like the others, however, he has a ce tain musical fantasy which resuits in| eftects usually arresting, if not al- ways logical. He is, moreover, a mas- ter of instrumentation, and his work, superbly played by Walter Frey of Zurich, stood out in its hard bril- lianey as the most vital and original of all the works that had succeeded the Mossolow Quartet. Undoubtedly, it deserves a place In the literature of modern plano concertos. The pro- gram ended with a *“Second Sym- phony”” by the Czechoslovakian com- poser, Emil Axman. The last concert opened with an un- interesting string quartet by Bernard Van Dieren, a naturalized English- man of French-Dutch parentage. It was followed by a jolly “‘Sonatine” for flute, clarinet and bassoon by a young Danish modernist, Joergen Bentzon, and that in turn by a plano trlo, Bpanish in rhythms and more or less French in content, by the Spaniard, Joaquin Turina. The remainder of the program, a sonata for violin and plano by Alexander Jemnitz (Hun- garian), Aaron Copland's “Music for the Theater” (American), and a set- ting of the 139th Psalm by W. G. Whitttaker of kngland, for unaccom- ganlod chorus. I did not stay for it, ut I did hear Dr. Whittaker's “Bach Choir,” which he had founded and T | Symphoriie march, MUSIG GLOETZNER, one of| ton's leading composers | ians, is recuperaling satis- | factorily from a second operation and is at his home on - Corcoran street. This news will be of interest to many . Gloetzner has long heen a les 2 musical activities in the Natlonal Capital. Thomas N. Iece Mount Vernon M eang at the morning & at the Bro and M. Church, where John Thomas is organist director. In the evening Mrs wson, soprano soloist of the Chevy ase Baptist Church, was guest =oluist. NTON Washi and mu bass soloist of Church South, vica last week Christina Irish, soprano; Jesse Veitch, and Elliott Button, baritone, ipire Theater in Win- Thursday, in connection presentation’ there of the film, of Verdi. The fi and fourth acts from "Il Trovatore were sung, also other selections from ore” and_eelections from “La and “Rigoletto,” n of the picture was under the direction of L. P. Wilcox of New York City, and the music under the direction of Estelle Went- worth of Washington. iliss Went- worth played the acompaniments for chester, Va with via he presentat | the singers, all of whom are from her Washington Studio. Mr. and Mrs. Edwin Hughes will :lose the series of musical programs held during Mr. Hughes' Summer master class with recital of two- plano music this Wednesday evening. Mr. and Mrs. Hughes, who have made many appearances in New York during recent seasons as two-plano recitalists, will give their first concert of two-piano music in Town Hall No- vember 1 U. S. SOLDIERS' HOME BAND. The concerts to be given in the up- per band stand at the U. 8. Soldiers’ Home this week by the military band (John 8. M. Zimmerman, leader: Anton Pointner, second leader), at 5:40 p.m., will be: alling” . . Clarke (“On ‘the’ Clifls Smythe tple -Kettlebey he Beauty Kern 12 Beriin “Lenz .Von_Blon ; - Maker h Overtire, reckers” of Cornwall”) Characteristic, * CE e Excerpts [rom musical Prize 3 Fox trot. nop suige, nd Lieha").. .. 3 Finale, “Tri-City "Band" ' /"2 1" “The Star Spangled Banner." THURSDAY. March. “The Trumpeters' Carnival”. . Overture miniature, “The Merrymakers “A Day in a Flori lection, “Lorely E: suite, “Hearts < Finale, /On the Air"....... ... Goldman The Star Spangied Banner.” SATURDAY. ve. la Mareh .Zimmermann Overt . Gomez Thurban Arrival of the Coon- town Cadets. Potpouryi, “Gems from Sir Arthur Bullivan No. 1" ceve JGodfrey Fox frot, Ager Popular waltz son; H 0 Finale, “Peaches and Cream™ (request). Sousa “The_ Star Spangled Banner.” ARMY MUSIC SCHOOL BAND. School (W. cert at Hampshire avenues northwest, at p.m. Thursday March. “Radio 0 n *Pora, flite. am, Frelich horn. Miiician *J Musician Richard Wi Two ponular fox trots () e, High Upin_the Hiliss (b) “Brebiing Along With the Brogze.” Whitiag Grand selection from the opera “Bohemian Gir 3 S Ba Young icador. 0. ' gu Regimental Marel Bigel “The Star Spangled Banner.” A band concert also’ will be played ington Barracks, . Tues- Friday, at 6:30 p.m. UNITED STATES NAVY BAND. The following are programs to be played during the current week by the United States Na Band; Benter, leader, and Charles Wise, sec- ond leader. Monday, at the Capitol, at 7:30 pm.: nflemen*. " De Luca e, ... ..~ Maesenet . Verdi ful.” Luca nd otinod I]stedt ai comiedy “The i Horhert . Valdie s ¢ Athens the Beauti D Grand seenes from the obera “Romeo dir e Valse, “Jolly Feliows Excerpts from the Enchantre Spantsh , Marc “The Siar 8 Tuesday, at Monument Groun: March, “Fest Juhel” Overture, “Fingal's Cave™. Excerpte from the grand of 2 Rusticana: A Three : it AT pangied Banner. the Sylvan Theater, 30 p.m.: Blankenburg Mendelssohn ascagni quotation Sousa Kin, fce. as Barn in Areadia.” eat Africa Winda". . . Valso, " chorus ‘fo Ag foe oW atroductio i1 1 - Hall and_brid: r Spankled Banner." Wednesday, at the bandstand, Nav Yard, 7.30 p.m. March. “Ar Qvertire Cornet solo, 'Arbu Musici: he Blue petitaBijol nd seenee from the apera “Southern Roses he Star Spangled Banner.” U. S. MARINE BAND, This week's programs to be given thé United States Marine Band, avior Branson, leader, and Arthur 8. Witcomb, second leader, will be as fol- t0: Monday, at Marine Barracks, at 4:30 p.m.: Coates | 1 The band of the U. 8. Army Music 0. Charles B. Tyler, con- ducting) will give the following con- ant Circle, Illinois and New . and at Walter Reed | Charles | RAPHS Mr. Hpghes, a W birth, i3 also well kne musical work. <hin, an by n here in his Elena A= Sayn has left with her string quartet, including Lydia Brew ef, viola; Lynch Luquer, second vio lin, and Ludwig Manoly, cello, for a tour through North Carolina. The first engagement is at Chapel Hill, at the University of North Carolina, fol lowed by recitals at.Duke University Durham; North Carolina College for Women, Greensboro: Greanville, N. eto. The quartet will gradually work its way into Asheville, in the vicinity of which it has a number of recital engagements Miss de Sayn will not return Washington until about the middle of September, when she will resume he. teaching. Mrs. Henry White, director of. the Singers and Lyric Trio, is spending the Summer with ber brother in Wichita, Kans. After a trip to morthern Minneeota, to attend the convention of the Pi Beta Phi Fra- ternity, of which she fs the national vico president. Emille Margaret White has joined her mother in Wich ita. Miss White was the soloist this morning at the Falrmount Congrega tional Church of Wichita, where she sang “Zion,” by Bruno Huhn. During the month of July the choir St. Patrick's Roman Catholi h has sung alternately at the 10 and 11 o'clock masses on Sunday mornings, Today will mark the elos :ng of the season. The music will he sung at the 10°a.rh. mass, with bene diction at 7:45 p.m. The quartet fa composed of Edna Hillvard Howard | soprano; Clelia Fioravanti, contralte | Roydon J. Dixon, tenor, and James | Nolan, baritone. Jennia Glennan the organist and director. Band Music Programs I ymn. “Th “The Star Spangled Banner. Tuesday, at the Tuberculosis Hos pital, Fourteenth and Upshur streets northwest, at 7:30 p.m.: Mareh, “Peace Thro p Idsl, “*Among Cornet solo, * % Miisi Scenes from Croby Hartmann . Lake Clarke .. Verdi . Lehar i Tavan ch_of the Toreador: e Star Spangied Bam Wednesday, at the United States Capitol, at 7:30 p.m., there will be & Wagner program: . “Ride of the Valkyries. Prelude. “Meistersing: Cornet solo. “Traume' Dreams™ ) Second Leader Arthur . Witcomb. ind scenes from “Siegfried, nd _song. _“OR, vening Star,” s el Musician A'bert RBénnert. Prelude, Act 1L, “Lohencrm - ‘Isolde’s Love Death.” “Tristan and Tsolde. Overture, “Flying Datchman.” “The Star Spangled Banner. THE U. ARMY BAND. Punblic activities of the United States Army Band will include this week, under W. J. Btannard, leader; Thomas F. Darey, sétond leader, th following concerts: Monday, patk .concert, Thirty-sev. .enth and streets northivest, 7:30 p.m.: Wednesday vlvan Theater con. cert. 7 ay, Capitol steps riday, Army War College concert, 6:30 p.m. The program for thé Wednesday evening- conceit, in the Sylvan Thea- ter, will be: . “Coronation”. . o to_“William' Teli Tranmbilder Die Hydropaten' elected pieces— . “Ein Marchen (“Levenda'): Periera Ab) “Serenata v Danza ... Periera (These numbers_are Deing nlaved for the first time in the United States by band an were obtained from Cel Periera, not Latin American conip the' Army Band by the Pan-American Union. = A speeial | arrangement for the Army Baiid.) grand selectiong from “Carmen : Dizet on Nurnbery .. Eilenber Rossini Lumby - Gung] arde dn Corps Qvertiire 10 “Der Euphoninm solo. *Jos Technical Serxt. Frank Jakibe Two selected a) “Arabian (Romance) Miidenberg (b) “Kralkowiak™ (Polish dance) 4 Statkowaki Novelty, “My Marstand”. ... .. Short | (Theme and’ variations for different instru- | _menta) | “The Star S angled Banner." Thursday, at the Sylvan Theater, Monument grounds, at 7:30 p.m March, “Entry. of the Gladi: Fucik Overtiire and dances from “The Opritsehnil,” ... .. .- Trchaik Andantine nd vartatio “The Harmgenioue | - Blackemith’® Fdis + . s Hande] Piccolo sglo. “Thropegh the A|& «.Damm 4 Musician Bartley C. Mook Excerpts from “Shamus O'Brien™ Sir Villars St: anford for brass § E Leader ' Arifif ' . Musician Nic Cicchese, cornet: M Robert K. Cl ombone: Musician P © " Hazes, euphopium. Symphonic poem. "Chant from the Great Pl L, o) Buseh “Fiest Suite’ for Militady Band 188 Fiag ) (a) Chaconne. ¢ ) Inter M tar Spangled Baaner." | at the Naval "Hospital | at M . “Tell It to the Marines' Ovprtuire. “Joan of Are Intermezzo, “Just a Genm" Tromboue_solo. “Thoughts of Lovi Musician Hervey J, Clark, Excerpts Trom “Lily of Kiliarney." Be (a). ussian Lullaby"...... 1b) “Cheritza™ oo Galop de concert, “Ride - Santelmand ‘The Star Spangled Banner.” Once in Same Cast. N original program of the first per- | o% formance of Leo Dietrich | famous stage comedy, “Afe ¥ | Mason?" at” W | York City, April 1; | recently unearthed department of the Pathe-De Mill Studio, revealed that the part Ernest Morrison was played by Cacil B. De Mille and the cha v of Caroline Bloodgood was interpreted { by May Robson. | ~Miss Robson is now a member of | the De Mille Sfock Company and | appears in “The Rejuvenation of | Aunt Mary.” 1901, which by the readin SAXCPHONE Piano Tenor Banfo. Guitar. Drums. Ete. In 10 to 20 Lessons Orchestra Training apd Practite. Coma i write of phone for booklet. lessong it sou_ bu ument fr CHRISTENSE! 1322 Gee S, “An Establi Free el Main _1273, WASH ON CONSERVATORY . OF MUSIC i Branches 7838 1408 New Just South 't Bubpat Circle ummer Master Courses: Vielin Volees STUDIOS OF WASHINGTON SOPHOCLES T. 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