Evening Star Newspaper, April 7, 1929, Page 58

MU BY HELEN FETTER. ARLY next month the United States Army Band will sail for sunny Spain, carrying in its voluminous brief cases samples of music produced in North, Central and South Amer- ica, to present before Old World audiences. The band will play these programs as a feature of the great exposition to be held in Seville. This plan, along with the re- cently heard concert at the Pan- American Union Building last Tuesday, again dangles the ques- tion of “Just what is real Ameri- can music?” before the minds of those interested in musical ances- try and indigenous qualities. Almost any composer who lives in the United States and has music published and performed has been called an American com- poser. MMany of the so-called “leading American composers” were not born in this country, al- though most of them have be- come naturalized citizens. Many native melodies—Indian, Negro, pioneer and other folk ma- terial—are developed in so thor- oughly European a fashion that they do not seem American com- positions, even though the com- poser may be an Ernest Bloch or a Charles Martin Loeffler instead of an Anton Dvorak. There is probably no one who would hesitate & moment in ac- claiming Stephen Collins Foster as a completely American com- poser, both from the point cf view of his real nationality and the originalitv of his compositions, | melodically and as songs totally | different from European songs. | Charles Griffes is another com. pletely American composer. There | are others whose national claims might be made in varying degrees. Certainly George Gershwin is thoroughly American. His “Rhap- | sody in Blue” is distinctly an| American product. A real United | States school of music writing is still to be evolved completely, al- though there are modernists, such } as Aaron Copland and Henry | Cowell, the first of whom is ex- perimenting with actual musical | harmonic and dissonant combi- | hations, whereas the latter is em- phasizing more the possibilities for developing multiple new ef- fects with the instrument on | which the music is to be per- formed. It does not seem likely that jazz will be the finally accepted form for American music that is un- touched by European styles and construction. However, it would seem quite plausible that the period of mass production of jazz compositions, of which the Gersh- win rhapsody stands as a tower- ing headliner. should quite defi- nitely contribute an element. which, when absorbed and refined by combination with other musi- cal material, may help to form | the backbone of a native school | of music writing. * k% X THIS same distinction as to| which is real United States and which is European-clothed American music might just nsi easily apply to Latin American | music. Surely many of the popular South American waltzes owe their style directly to Vienna. Spain, and even France and Germany have inspired the composers of many of the lighter types of Latin American composition. Yet when the real native music is played on the same program with music whose_themes have been clothed with European style of writing the difference is as marked as | songs just off the press this past| SIC native folk music, together, should make for a vital Latin American school of music. Just as the sara- bande, bourree and gigue in- spired Bach; the minuet, Mozart, Haydn and Boccherini; the waltz, Brahms; the mazurka and pol- onaise, Chopin; the tango and jota, Albeniz and DeFalla, and the two-step and fox-trot, Gershwin and Irving Berlin, so the pasillo and jarabe are inspiring Latin American composers, developing individual, worth-while composi- tions upon the dance rhythms first made popular by peasantry or ballroom use. 1t is not that one is not to ad- mire fully the established schools of music in Europe—the French school of various periods, the Italian, the German and the Eng- lish—but rather that this New World of two continents, with its wealth of musical material, it is hoped, may develop and establish something of its own rather than simply encourage its native com- posers to study abroad and at- tempt to imitate the established styles of composition from earliest times to Schoenberg. * ¥ ok ¥ THE woman composers of the United States are to be given special honor in Washington dur- ing the coming week end. In sub- ject matter, as well as in styles uf composition, several members of this group are showing themselves | to be exceedingly alert and up-to- the-minute. One of the most in- teresting features of the program to be presented next Sunday afternoon at the Congressional Country Club will be four new ' week. They are “Four Songs of | the Air,” with the lyrics writ- ten by Lady Mary Heath, the charming British aviatrix. The music for these songs was writ ten by Pearl Adams of New York City. The titles of the four songs are: “New Ships,” “Up Hill, Up Wind, Up Stream,” | “Twin Shores” and “At the Other End of the Day.” They are songs of the elements—wind, rain, clouds, waters seen rolling in tides’ inevitabilities and hilltops lowered beneath her soaring | plane. Miss Adams’ settings of these songs are said to be most sympathetic. Saturday night the most taxing form of musical writing—com- positions for string quartet and for quintet with piano—will be presented, showing that woman composers, too, write more than just pretty songs. Saturday’s pro- gram will include works by two| California women. one from New York and one a Washingtonian. Young Co]ora.mra Com;ng‘ that of the proverbial day and night. Moreover, an audience is| quick to grasp this fact. The, quality of the applause instantly becomes more enthusiastic and | alert. This was never more no- | ticeable than when, on Tuesday, | the orchestra played “Yaqui Dance,” by Alvarado of Mexico. There was no mistaking the bar- baric authority of this work, the simple melody being appropriate- ly given a setting that featured the using of such instruments as would most closely resemble in sound the crude native instru- ments which first were used to present this melody with its in- creasingly speedy rhythms and ominous undertone. Also on that occasion, the play- ing of compositions written with that very tricky tempo called the “pasillo,” by native artists, the Colombia Trio, upon native in- struments, gave entirely fresh meaning to the individuality of this tempo. Like the gato, and the jarabe, the pasillo is a dis- tinctive Latin American dance rhythm, which, when combined with native folk melodic material and performed by natives be- comes an understandable addi- tion to music, owing nothing to Europe of its innate qualities. Naturally, the influence of Span- ish colonists will be found in the developing of a school of music in practically every Latin Ameri-~ can country. To United States citizens, however, the compositions on the programs given under the auspices of the Pan-American Union, which have won the most interest and enthusiastic atten- EDITHA FLEISCHER. RIMA DONNAS and “grand opera,” tenors and high C's, are the biggest lure of all opera events—and since the coming “season” of the Metropolitan Opera at Polf’s is but 10 days away, it | is interesting to know about new voices | in_the ranks. Editha Fleischer, the one coluratura- soprano in the casts, will sing “Nedda" in “I Pagliaccl” to Edward Johnson's “Canio” the second evening, Thursday, April 18. She it is who fulfills Maestro Serafin's ardent cry for Mozart singers, for voices that can bring the pure melodic beauty of such music. Fleischer sang here with the Wag- nerian Opera Co., and soon afterward won her entrance to the Metropolitan. ‘This past Winter she created a leading soprano role in the Krenek opera, “Johnny spielt auf” and it her to immediate stardom in this coterie of great voices. Miss Fleischer has sung it with great success at every perform- ance in New York this Winter. Marion Telva, who sings here in two operas, first as the “Lola” of “Caval- leria” and then as the haughty “Am- neris” in Aida,” has a long list of suc- cesses in her repertory that have grown vastly since her truly sensational first appearance there in the opera, “Manon Lescaut.” She sings Fricka, Suzuki, Maddelina. Amneris in “Aida” is said to be one of her greatest achievements. The Metropolitan Opera Co. brings to Washington great casts, with the exquisite “Manon” opening the three- day feast, the famous “twins” of grand opera bringing a wealth of music for | i tion, have been those which pre- sented aboriginal material in original styles and tempos. The} “Ay, Ay, Ay,” a Chilean folk song, is practically as much a popular hit this year as the “Song of the Volga Boatman,” the Russian folk song, was a couple of seasons ago. Of the dozen Lecuona composi- tions on Tuesday’s am the most unusual and memorable was the “Canto del Siboney” (song of the Siboney Indians). One won- dered why that precise, French form of composition, the minuet, was chosen by Castillo of Guata- mala_for the indi Mayan |ber of the melody. Also why Sfiramontes of |mission Mexico chose to turn his back upon the wealth of native music and ideas to write instead a waltz suite on a subject which Bizet, the Frenchman, has made immor- tal—the tale of the troubador. Several old Inca melodies, espe- cially the famous “Hymn to tha Sun,” have e “request” numbers with pan-American au- diences. It is said that Latin America has a worth-while, constantly de- Qveloping school of chamber music ~of its own, This music and the | solo_groups, will sing with the chorus the second evening, and to close is “Alda” with its spontaneous outpouring of lovely melody. Wi looks forward to an opera season more bril- liant than any that has been held here in years. e CHHRNE L SR f Interstate Group Appears In 26th Program April 30. 'HE Interstate Male Chorus is to give its twenty-sixth concert at 8:30 p.m., April 30, in Memorial Conti- nental Hall. The ‘The program will include “Ships in the Harbor,” by a Baltimor: Franz C. Bornschein; Break, Break,” and Max Bru tle Hymn of the Monks,” unusual six- i erings. “Gentle Friend Plerrot,” | c] by Leoncavallo, and Arthur-Foot’s “An Irish Folk Song” also will be given. ‘The soloist will be Dorothy Sinnott, contralto, who, in addition to her own Brahms' “Rha ie,” from Goethe's “Harzreise im Winter,” and Mr, Aitchi- sor.’s adaptation of Luther's “In Night's Still Calm.” Robert L. be the ac- and Mrs, Paul s. Sinnott. g Tt chorus Mrs. t companist T ieyden Wil RAFAELD Diaz- Villerd (F1idsy) EVENTS OF JOuN PRINDLE. ScoTT- Ath Presbyterian Church (Zvesasy) THE WEEK TODAY. Sacred concert by Singers’ Club of Ohio Wesleyan University at the First Congregational Church at 4:30 p.m. The Hanover Glee Club will sing at Gunton Memorial Church MONDAY. Harvard Glee Club, Dr. A. T. Davison directing, in program at Mayflower Hotel at 8:30 p.m. Ohio Singers’ Club in formal concert at First Congregational at 8 p.m. Church at 8 p.m. The chorus of the Women'’s City Club will give a program at 8:30 p.m. at the clubhouse. TUESDAY. John Prindle Scott program at Fourth Presbyterian Church at WEDNESDAY. Ohio Singers’ Club in formal program at Hamline M. E. Church THURSDAY. Saveli Walevitch, singer of Russian folk songs, will give a recital at 8:15 p.m. at Howard University. FRIDAY. Ohio Singers’ Club in formal program at Foundry M. E. Church SATURDAY. 8:15 pm. at 8 pm. at 8 pm. ‘Woman Composers’ program at HANOVER GLEE CLUB—Tonight. ‘The Hanover College Glee Club of | Hanover, Ind., one of the foremost col- lege vocal. ensembles of the Middle West,” will give a concert at Gunton-!| ‘Temple Memorial Presbyterian Church tonight at 8 o'clock. | The program will be the same as was | presented last night at the Washington | Heights Presbyterian Church. OHIO SINGERS’ CLUB—This Week. The Singers’ Club of Ohio Wesleyan | vard Glee Club, Dr. Archibald T.| Church, PROMIHENT among the many fine © groups of singers in Washington churches is the quartet of the Church of the Covenant, a leading Presbyterian hurch. Harvey Murray, director of this choir, has been uoocyhued wch.h the musical work at this church for many years, in fact this is said to be his thirty-first year as organist and a lead- ing spirit in the musical activities there. The large choir formerly existing was disbanded several seasons ago and the i Covenant Quartet, above represented, | presents all the music with Mr. Mur-; ray's assistance, ©Of this th contralto, e o i Red Cross Hall at 8 p.m. University will begin a week of several local engagements, with a sacred con- cert at 4:30 p.m. today at the First Congregational Church. The list of places and dates of other concerts by this club, which will be as- sisted by its own instrumental group. is given in the notite at the head of this column. HARVARD GLEE CLUB—Tomorrow. The annual appearance of the Har- DorotHy DEMUTH \WATSON- HARRISON D.LEBARON | FirstConqregational Church (7ody) | Davison, director and organizer, will | | be made in Washington tomorrow night | |at 8:30 o'clock in the baliroom of the | Hotel Mayflower. | Dr. Davison will conduct the program, | which will include unusual songs by established and modern masters of classical song writing: Palestrina, Caris- simi, J. 8. Bach, Thomas Morley, R. iVaulhln Williams, John Wall Callcott, Granville Bantock and Sir Arthur | Sullivan. Old folk melodies, including and ancient German carol, a rarely heard Irish folk song. an equally rare old French melody, arranged by Gustav Holst, and three Italian folk songs will be presented also. ‘Tickets for the concert, which is be- ing sponsored by a list of prominent ! ‘Washington men and women, are on sale at T. Arthur Smith's Bureau, in | Klt{! music store, 1330 G street north- wes! WOMEN'S CLUB CHORUS—-Tomorrow | The Women's City Club Chorus will | | be presented by Gertrude Lyons, or- ganizer and director, in its fourth an- nual Spring concert in the ballroom of the clubhouse, 22 Jackson place, tomor- row at 8:30 pm. A violin ensemble, | under the direction of Josef Kaspar,, will assist. Members of the club and their friends are invited. | The club’s numbers, to be accom- panied by Mary E. Garrett, will include | works by Friml, Beethoven-Spross, Hum- | perdinck-Manney, Schumann-Saar, Ru- | binstein-Wilson, Offenbach-Judge (the { last three with violin solo or ensemble obbligato), Burleigh-Page and Dvorak- | Fisher. | Janet Coon, girl whistler, winner of the Post-Pickford contest, and Jean | Westbrook, violinist, will give solos. JOHN PRINDLE SCOTT PROGRAM.— | Tuesday. | A group of leaders in local music circles have co-operated in working out a program to feature compositions writ- ten by the American, John Prindle Scott, a charming person and noted primarily as a writer of songs, who | makes his home in the National Capital |is in New York, where he is affiliated | troduce these songs to America. He con- | siders 1t & work of devotion to preserve | tention, or effort. to tell a story. The | gen“ sometimes violent, change versus | thy De Muth Watson, music_chairman, | Crew Aylwin of Oakland, Calif, and | Piano and Strings,” by Mary Howe of DR.ARCHIBALD DAVISON- May{lower(//m) streets northwest, at 8:15 p.m. Tuesday. | Those who will participate include Herman Fakler, baritone; Floyd Wil- | liams, tenor; Ross Maxwell Dickey, vio- | ltnist; Mabel Linton Williams, ‘pianist; Louls Potter, jr., violoncellist; Newton | Hammer, tenor; Helen Turley; the! Chaminade Glee Club, Esther Linkins, director; Vermont Avenue Christian Church Choir, Willlam Braithwaite, director. John Prindle Scott, born in Norwich, N.Y., was educated musically in Oberlin and later in New York City and Europe. For nearly a decade he had a success- | ful career as a concert singer in the Middlewest. Increasing deafness re- | quired him to turn his talents to an- other field, so he concentrated in the | study of composition. Probably more | of his songs are used by church choirs | and solofsts than any other American composer’s. He won prizes from three | universities for writing of college songs | —a fact not generally known by those | who sing his concert songs so fre- quently. Mr. Scott's permanent home | ‘with many groups with musical interests. SAVELI WALEVITCH—Thursday. \ One of the most noted singers of | Russian folk songs and gypsy ballads, Savell Walevitch, who bas not been heard in public recital in Washington for several seasons, will present a pro- gram at Howard University Thursday at 8:15 pm. The ancient folk songs of Russia are of great significance in that they pre- sent the life and customs of the people and are spontaneous authentic creations in artistic form. Mr. Walevitch is| among the first of the Russians to in- | | | | this primitive art, so rapidly vanishing' even in Russia itself. H ‘WOMAN COMPOSERS— Saturday. ‘The Woman Composers of the League of American Pen Women will be fea- tured during their stay in Washington, | April 12-14, when two interesting pro- | | grams will be presented. The first will be given under the auspices of the League of American Pen Women, Doro- | Saturday night, at the Red Cross Audi- | torium, at 8:15 o'clock. At this time the original $100 prize | composition, “Adagia for String Quar- | tet,” will be played, as well as the first | honorable mention award, a violin solo. | The first prize was won by Josephine | the first honorable mention was won by Francisca Vallejo of San Francisco. Other numbers will be “Quintet for this city, and “Quartet for Strings,” by Ethel Glen Hier of New York City. The National String Quartet will present the music and will be assisted by Mary Howe, planist, and Mary Lindsay-Oliver of New York. | The second concert, featuring the woman composers of the League of American Pen Women, will be presented | under the auspices of the Congressional { Country Club next Sunday afternoon | in the Pompeian room at 5 o'clock. | The composers, whose works will be in- | terpreted at this time, will be Marianne | Genet of Pittsburgh, Mary Lindsay- | Oliver and Pearl Adams of New York City and Phyllis Fergus of Chicago. Richard = McCarteney, Washington | baritone, will interpret the songs of the | first three mentioned composers. Each several months each year—usually in | the late Winter and early Spring sea- son. This Scott program will be pre- sented in the Fourth Presbyterian Thirteenth and Fairmont The soloists of the Covenant Quartet are, reading left to right: John C. Smith, Charlotte Harriman, Helen Howison and Louis Annis. Harvey Murray, director. est, this being her third year, Mi Howison, the soprano, and Mr. Annis, tenor, have been there two years. Mr. Smith has sung in this quartet one year, ol peophmvfll‘:mwn as mem| young group of local music circles, Miss Harriman and Miss Howison have beep heard in un- hoth i The inset is of iss | usually artistic and successful programs at the Arts Club of Washington this season, as well as elsewhere. Miss Har- riman, who studied with Mme. Ernestine Schumann-Heink last Summer as one of three American students honored Lb& , has won spec] of German She also - ey composer will assist at the pilano. in | | the interpretation of her group of com- | | positions. | | Both programs promise to be unus- | ually worth while, | has had considerable experience in small roles with the local opera com- pany. Miss Howison was chosen to be one of two singers on an Italian organ- ization’s program earlier this season when the other singer was Bel Gigli, Italian tenor of the Metropolitan Opera Company, who is acclaimed by many as logical inheritor of the cloak of the at Caruso. Mr, A‘rn'nh, tenor, also has sung in local opera !:mdu:thm. and is fre- gflfly heard in concert work. Mr. ith’s dcep basso has been heard in stage presentations of operatic scenes end on concert programs from time to Terpsichore Redivivus. BY FREDERICK OECHSNER. From a background of generations of polite audiences who have sat, weli dined and handsomely garbed, applaud- ing with feeble and innocuous enthu- siasm the movement of the human body to sweet musical rhythms has recently emerged a group of audacious young things who threaten to do with the dance what others have done with painting and music; to use it to make people think. It is part and parcel of this ruthless age that people are not to be allowed any longer to simply sit and enjoy their theater, their concert and their book. That, most intolerable of all burdens has been thrust upon them—they are |confine themselves to the highly grace- expected to use their brains. | ful photography of a physical idea. What charity has spared Washington | They go beyond that. They present an this savage demand cannot be told in | €motional or a mystic mood, & thought, a word, at least us regards dancing. In | & Sprig of philosophy, a passion, a mad- music we have had our Honegger, our |NesS, a protest, a personal commentary— Schonberg, our Prokofieff; in drama SImply something upon which the spec- “Strange Interlude,” as a single ex-|tator has to hang his own interpreta- ample, has offered its curiously involved | tion, to adjust to his own ideas. The self; but in the dance only one, that|dancer, in short, refuses to do the spec- unusual young woman, Angna Enters, | tator’s thinking for him, refuses to be has displayed & provocative new spirit, | didactic. refuses to be a vitalized plc-~ and the audience which witnessed her | ture gallery. recital was far from sure what to think | An Oriental audience looking at a of her. New York, however, and the Skillful Japanese actor can be thrown European capitals fairly bristle with ex- | into the most uproarious laughter by perimentalists (a number of whom the the mere change in the artist's eyes. writer has seen) who have set up no | He is utterly motionless upon the stage; unmistakable flurry among the classi- [De says no word, but that infinitely clsts. | economized gesture, that exquisitely Dancing has been, as a matter of brief suggestion is enough. Picasso, fact, comparatively tardy in feeling and | Working through a series of some hun- expressing the restiessness which has | dred drawings beginning with a com- affected the other arts. It is extremely |Plete and obvious projection of the interesting, in view of the heretofore | Physical object on paper, ends finally, rather passive state of classic dancing, | &fter the most studied and painstaking self ob postures, movements, gestures, some of which are esthetically almost r; it has irony and cruelty and the power to enrage as well as to please, but, above all, the power to taunt you into thought. An awkward inter- spersed between two graceful poses (or movements) is little more, after all, than a reflection of the awkwardness | which lies in the human mind, the cynical and bitter thought between two compassionate ones. | Where the interpretive artists, work- | i1+, with programmatic music presenting |a theme or logical conception of an | idea, sought to render it pictorially—as vividly, in fact, as a picture or succes- sion of pictures upon the stage could reveal it—the newer workers refuse to |T | Miss Jennie Glenman. directing, *| erer’s mass in honor of the sacred heart. ]schoel of the Piano held its monthly to note this introduction of more sub- tle influences. People have, for so | long, seen and been satisfied with the | suave phantasy of such things as “Cop- pelia” that the presentation of radical- ly different, 1l 1 1 Wiener, y gl "’",:,s,!oluck, Felicia Sorel, Tamaris (to cite meets not only surprise, but antagonisi Perhaps it is a misnomer to call the | advanced mode a “new” thing, slncel nothing is new under the sun; it would | be more correct to call at a joinder of | several different media of expression. | Dance plus music has traditionally made up the best known form; here we have dance plus (or without) mus'c. plus pantomine, plus drama, plus piai- losophy, and the result has probably caused ‘more_critics to use more re- | sounding phrases in a shorter space of time than any inspiration since cubism. Suffice it for one humble commentator | to say that it is as far removed from | the placid and ingratiating rhythm of | the Russian and French ballet as| Hindemith is removed from Mozart. | It is likely, after all, that the sub-| jective style of dancing (if one might call it that) does not come upon a pub- lic entirely unprepared. The ground has been laid by the increasingly imaginative style of interpretative work in which the thought or impression to be ex- pressed has been merely transferred from one medium to another, or oper- ates in conjunction with another me- dium, as in the case of programmatic music. The disposition of the body through a series of graceful patterns | intended to suggest a narrative or in-| cident to appropriately rhythmed muslc‘ was in itself a change from the more | purely classic form of simply moving | to the tempo of music without the in- | finest artists of the classic and of the interpretative school—Nijinsky, Paviowa, Isadora Duncan, Karsavina, Mordkin, | Bolm, Fokine and Fokina, the Diaghi- leff group and others—were the means of presenting dance ideas in refined, studled forms, but still objectively, still idealistically, still romantically. was inevitable that something should evolve from that merely graceful, merely symbolic school more fitting to, the nervousness and query of today. Now comes, in fact, variously in New | York, Paris, Berlin, Moscow, a harder, | ‘more mordant, more brilliant projection | of the dance form, one which has the | discomfiting habit of refusing to com-| promise with sentimentalities, which | 'MUSIG 'HREE well known young Washington musicians will present the program | this afternoon at 5 o'clock at the Con- | nal Country Club. They are ! Rose Pollio-Jarman, mezzo-contralto; | Evelyn Monico Papas, pianist, and | Sophocles T. Papas, guitarist. Both the | singer and guitarist have appeared to | advantage on various programs given | in the National Capital earlier this sea- | son and won additional laurels by their performances. Mrs. . Papas has not ap- peared in public for some time, but remembered both as a soloist of ability and as a writer of some clever songs for children. Franceska Kispar Lawson presented | a recital program of songs for the Woman's Club of Smithfleld, Va., last Tuesday. She featured songs written by American composers. ‘The program of unusual music pre- sented last Sunday at St. Patrick's Roman Catholic Church by the cholfii wi be repeated today in response to many | requests, at solemn high mass. The ordinary will consist of the “Missa Brevis” of Palestrina and Mitt- The proper of the day will be sung and the offertory motet will be Viodana's “Exsultate Justi.” ‘The junior class of the Master meeting Saturday afternoon. Grace G. Gllchrist, director, was present. The students were: Betty Jane Cassidy, Mollye Hersom, Shirley Greenberg, Fay Greenberg, Josephine Bertolini, Antoi- nette Klesner, Doris Klesner, Catherine Coulon, Celeste Weaver, Marguerite Cave, Margaret Hais, Naomi Hais, Hilda Siegel, Hannah Stein, Frances Pittiglio, Rosalie Michaelson, John Brennan, Leo Ofenstein and Americo _Pittiglio. ‘The first Rubinstein Club rehearsals after Easter were held Tuesday in preparation for the second and final concert of the season, May 7, at the Willard Hotel. Some unusual numbers | are to be presented by the .chorus. Julia Peters, soprano, New York, will | be _guest soloist. Voice trials for the varlous parts in the chorus are still being given and those intercsted are advised to make appointments immediately with the chairman of the audition committee, Mrs. Elmer Carleton Smith, 3945 Con- | “Pastorale” | Dorothy Todd. elimination of detail, with only & few lines which are supposed to carry the whole meaning of the original. The present work of such dancers as Enters, Martha Graham, Hans Alexandre Gavrilov, Senia some of those liable to be best known in this country) appears to be seeking (whether they specifically say so or not) to free the dance form from senti- mentality and esthetic limitations and to invest it with the iniellectual stim- ulation thit drama can give. This nre-~r5 biiags dancing into line witn the zdvanced technigue in music and painting. Being a little behind the others in point of time, it probahbly will go through phases of technique comparable to polytonality and poly- rhythm in music and the cubistic and abstract forms in painting. arriving at a stat> which combines the least ob- viousncss with the greatest amount of emotional and intellectual suggestive- ness. Those who demand transparency in their harmony or their painting will continue to patronize the formal types of dancing. The fact is that there is room for both, but that without the more modern form the art would not be complete—not so far, at least. as art is a reflection of contemporary feel- ing. or a contemporary comment on all “feelings.” Mpystification and distaste must continue to be the lot of those who recelve no sensation from an artist’s work, except through the me- dium of strictly formalized, strictly pat- terned style. Any artist worth his salt will refuse to catalogue every detail of what he wants to express in a sensitive effort. New spirit versus old prejudices; sud- the prosy and sterile complacency which scorns or ridicules that which piques it. If everything produced in the realm of art is required to be immediately under- stood without reflection or perplexity, then the sheer immediacy of the re- action robs the work of its most valu- | able quality—the power to stir the ob- server, to move him to some sort of re- sponse beyond bovine approval. The spectacular does not last long, but neither does the neutral. If a few of the “morbid moderns” have sought to revive Terpsichore in their own way, it is at least a healthy sign that some one considered the lady worth saving. It looked s0 much for awhile as if she, of all the muses, was growing senile | mocks sentimentalities, which avails it- land weary of thought. RAPHS necticut avenue, Cleveland 2693, Apart- ment 307. The Chaminade Glee Club presented a program at the Home for the Blind last Wednesday evening. The club was assisted by Flora Clayton, violinist, and Karl Holer, accompanist. Ruby Gerard, internationally known violinist, will play at the morning service of the FPirst Congregational Church today. Miss Gerard played in Washington three years ago, since which time she has been touring Europe, giv- ing programs in castles as well as in concert halls. While in Washington she is the house guest of Ruby Smith Stahl. The Nocturne Club of the Washing- ton College of Music discussed Italian music at a recent meeting. Eugene | Heisley read a paper on “Early Italian Musie,” Prtpfll’ed by Helen Ogle; Anne Smith played “Larghetto,” by Bocche- rinl, and “Giga,” by Martucci-Corelli; Mary Gastrock, soprano, sang “Sere- nata,” by Tosti. The selections of Helen Lyon, violinist, were “Canto Amoroso.” by Sammartini-Elman, and “Minuetto,” by Boccherini. Verdl was represented by the “Caro Name.,"” air from “Rigo- letto,” sung by Adele Delano, soprano. The program closed with the “Minu- etto” by Martucci-Corelll and the by Scarlatti, played by ‘The next meeting, April 18, will be devoted to German and Scandinavian composers. ‘The Lovette Choral Club of 30 women will render the musical program at the Daughters of the American Revolution memorial services to be held in Memo- rial Continental Hall next Sunday morning at 11 o'clock. They will sing under the direction of Eva Whitford Lovette, director, with Helen Clark accompanist. Ethel Lynn PFast, colora- tura soprano, will give a solo, with Mrs. Lovette accompanist. A cordial invitation to attend is ex- tended to the public. The Cantabile Chorus at a recent business meeting held in the studio of Dr. Alexander Henneman, director, named the following committees to as- sist the president, Mrs. P. Schrider, in planning Spring activities: Reception committee, Mary Scherer, Clarissa Mul- liken. Helen Smith, Rita Mower, Bea- (Continued on Thirteenth Page. STUDIOS OF WASHINGTON BESSIE N. WILD WALTER T. HOLT . School of Mandolin, Guitar and Banjo. Hawaiian Guitar and Ukalele [Established 1894 Ensemble practice with the Nerdiea Clubs 1801 Columbia Road N.W., Col. 946 PIANO PLAYING JAZ Positively Taught Any Person SAXOPHONE, BANJO UKE, Ete. IN 20 LESSONS FREE LESSONS It You Buy Instro Orchestra Training Send for B Christensen School of Popular 718 11th_St. N.W. _Main_1278. Sophocles T. Papas Banjo, Mandelin, Guitar Hawaiian Guitar and Ukulele P o omg, Parke B, ©. reia 3233 Washington Teachers of Voice— Piano—Violin—Organ—Cello —desiring name, address and tele- phone indexed in special program for National Music Contest, il 27, send correct data to CONTEST COMMITTEE, 2008 Que St. No charge for insertion in list. Free pro- gram devoted solely to musicians. Extra copies at cost if desired. " IRENE JUNO ANNOUNCES Pipe Orzlgvlmtruction Theater Organ , Call Col. 4830 __ Volce Culture. Pl Studio 6824 5th st. Phons