Evening Star Newspaper, January 19, 1930, Page 56

BY HELEN FETTER. OR the second time in Janu- ary, opera holds prime place in musical interest. The season of German opera was generally successful. Having | realized the friendly interest| shown by citizens of Washington in this company’s initial efforts last year, Mr. Hurok arranged for the opening of the second Amer- ican tour in the National Capital. Another company, a native or- ganization, also appreciates the value of a debut in Washington. | Three seasons ago the American Opera Co. gave its first perform- ance of a revivified and brilliant production of “Faust” in Wash- ington. Tomorrow this company brings the newest opera written by an American composer for its first performance in this city. The special versions of Puccini’s “Mme. Butterfly,” Bizet's “Ca men” and, of course, Gounod’s “Faust” will follow on Tuesday and Wednesday. The American Opera Co. was evolved at the Eastman School of Music in Rochester, N. Y., origi- nally. At that time Vladimir Rosing, the Russian singer, who had become a favorite in this country, was in charge of operatic music at this conservatory. Through his persistent, carefully thought-out efforts, experimental work was done in developing this plan for “opera in the language of its audience.” * K ok ok BROAD, it is the accepted thing for a country to have all | opera presented in the language of that country. In France, Ger- man and Italian opera is all| translated and performed in| French. Such is true of the other European countries. To the es- thetically minded, however, such translations are not really satis- factory in the majority of cases. The practical business man also finds the meaningless rep- etition of phrases, which, in Italian seem in good taste and sensible, rather ridiculous in English. In most translations, the rhythm of the substituted language does not fit the rhythm of the music. A prime example of this was the recent perform- ance here of “Don Giovanni” in the German version. There is no doubt but what the original Ital- jan was not only more singable but much more charming to the ear with Mozart's delicate music. The heavy German syllables tend to give leaden weights to Mozart's winged phrases of song. Viadimir Rosing realized all of these difficulties. As a result, it is not the aim of the American Opera Co. to merely give an Eng- that the queen, entranced by terror, is dead. The finale occurs in the church during the funeral serv- ices over the queen, during which the latter, supposedly dead, re- turns to consciousness long enough to declare Yolanda inno- cent and bring retribution on Camarin at the point of Amaury’s sword. The opera ends with Yo- landa and Amaury united at last. “Yolanda of Cyprus” was given its world premiere in Chicago Oc- tober 9. * X x K 'l‘HE authors of the new opera cre widely known in literary and musical fields. Cale Young Rice has 20 volumes of poetry and poetic drama to his credit and four volumes of prose-fiction. Among his other poetic plays are “A Night in Avignon,” for which Mr. Loomis has also written an operatic score; “David,” “Charles di Tocca,” “Porzia,” “The Immor- tal Lure” (four one-set plays), “Gherard of Ryle” and “Mih- rima.” “Yolanda of Cyprus” was first produced in 1916. A native Kentuckian, Mr. Rice resides in Louisville. Clarance Loomis, writer of the music, whose father’s cousin mar- ried a first cousin of Abraham Lincoln, is known in musical cir- cles, not only for his setting of “Yolanda of Cyprus” (winner of the David Bispham medal several seasons ago), but for “A Night in Avignon,” by Mr. Rice, and a wree-act Gaelic opera “dun an Oii.” Mr. Loomis also has to his credit many orchestral and string compositions; “A Hymn to Amer- jca” and numerous ballets, one of which came into prominence when it was presented as part of the coronation ceremonies of the Emperor of Japan. He has com- posed a number of concert songs and “An American Fantasie,” which has been presented by sev- eral symphony orchestras. * K o % THE Philadelphia Symphony Orchestra, under Gabrilo- witsch, makes this practically an American week by having chosen the work of a cotemporary Ameri- can, Hermann Hans Wetzler, as a feature of Tuesday's program. Mr. Wetzler turned to compo- sition after having first estab- lished a definite success as a con- ductor and an organist. “The Basque Venus,” opus 14, which is to be given Tuesday, is said to be actually a crystallization in free symphonic form of the impres- sions the composer received from ancient national dances of the Basque people. It is described as “an opera in five tableaux,” music by Mr. Wetzler and the book by Lini, his_wife. The libretto is lish translation of the actual li- |hased on Prosper Merimee's story, bretto for operas originally sung in Italian and French. ‘This Americanized Russian, on the contrary, has brought the subtle dramatic gift of his native country to bear upon the problem. As a result the action, settings and words all arg Americanized— translated int6 an American medium. "~ Only the music score is kept intact. Also, the inner, elusive spirit of each opera is re- tained. Creaking, aged ‘“stage business” of the standardized opera is swept away. In its place is substituted -unpified, spectacu- lar entertainment, typically Amer- ican in treatment. The gorgeous pageantry of Ziegfeld; the most recent form of musical comedy, such as “The Three Musketeers” and “The Vagabond King,” and the eminent success of real music as proved by “Blossom Time,” in which the theme song was a chief motif of a great symphony with| only change in tempo—all these have been contributing elements | in the evolution of the American Opera Co. and its plans to give performances of masterpieces of opera both in language and form that will have definite entertain- ment appeal to the general public of the United States of America. More power to Mr, Rosing and his corps of youthful, earnest Amer- ican singers! * Kk X X 'HE stories of three of the| operas which the American Opera Co. will present in v.he; English language at Poli’s during | the current week—“Mme. Butter- | fly,” “Carmen” and “Faust’—are familiar to operagoers. “Yolanda of Cyprus,” the opening opera, however, is new. It was written| by Cale Young Rice, husband of | Alice Hegan Rice, the author of “Mrs. Wiggs of the Cabbage Patch.” The action of “Yolanda of Cy- prus” takes places in the Eastern Meditérranean during medieval times when the Venetians and the Saracens are at war. It is a story of sacrificial love and sinister in- trigue. The fair heroine, Yolanda, is a ward of Queen Berengere and King Renier and the betrothed of their son Amaury? Queen Berengere has become involved in a love with Camarin, a baron of Paphos. This is known to Yolanda and also to Vittia Pisani, a_woman member of a owerful Venetian family who is erself in love with Amaury, Yo- landa’s betrothed. Vittia threat- ens to reveal this guilty love to the king wunless Yolanda re- nounces Amaury's love. A tragic| struggle between the two begins| in the first act and lasts through- out the opera. returns home briefly ; Finding Yolanda accuses her of undue interest in Camarin, the baron of Paphc This she denies. Amaury leavi her, depressed. In the meantime, Camarin and Queen Berengere have resumed their intrigue and Yolanda discovers, to her horror, that the king has learned of their affair and is coming to kill them both. To save the queen, Yolanda throws herself into Camarin’s| arms as the king enters. | In the meantime, Amaury has| returned home wounded. Vittia has told him that Yolanda was found by the king with Cam- arin. Yolanda, under pressure, admits her fictitious guilt and only Amaury’s wound prevents a fight between the two men, though it is agreed that Yolanda shall wed Camarin, her apparent “La Venus d'llle,” for which the scene, laid originally in South- western France, has been trans- posed by librettist and composer into the Biscayne country to pro- vide opportunity for the use of the rhythms peculiar to the Basques. The plot centers around the statue of a bronze Venus, suppos- edly the handwork of the Greek sculptor Mpyron. Recently un- earthed, the image stands in a garden where the chief actor, during a game of tennis, hangs his ring upon one of the statue’s fingers. Later he discovers the hand of Venus closed upon the ring; he endeavors to remove it without success; at daylight he is found crushed to death, presum- ably after sustaining the embrace of the bronze Venus. The symphonic dance opens the second act with Basque youths and maidens in characteristic na- tional dances at a wedding feast, all under the spell of the demoni- acal force of the mysterious an- tique figure of Venus, “whose silver eyes exercise a magic in- fluence upon cll the actors and events of the opera.” This influence also affects the dances which begin with the strains of the Basque Fandango (not to be confused with the Andalusian variety). There fol- lows the Zortziko, which is done by eight dancers to the music of tambourines, fifes and a sort of flageolet. Thereafter comes the Expata-dantza, a variety of Basque sword dance, with one actor tak- ing the part of a corpse whose death the other wishes to avenge. The first performance of the symphonic dance in concert form was at Hamburg, under Carl Muck, January 7, 1929. The first American performance was given by the Chicago Symphony Orches- tra in February, 1929. Mr. Ga- brilowitsch played it in Detroit last October and Mr. Toscanini introduced it to New York with the Philharmonic-Symphony So- ciety fn November. Musicians’ bmner pTanncd To Honor MacDowell I{OSE and Ottille Sutro, two-piano artists, will be honor guests at the Arts Club at the musicians’ dinner Thur- day, arranged by members of the music committee of the club, Theodore Gan- non, chairman. Other musician guests will be Mabel Duncan, violoncellist; Frances Gute- 1fus, accompanist; Helen Howison, so- rano; Flora M 1 Keefer, contralto; Mildred Kolb Schuize, accompanist, and Elizabeth Winston, Clay Coss and Rob- ert Ruckman, pianists, and George Wil- son, accompanist. It s Mr. Gannon'’s plan that this mu- sicians’ dinner be a sort of “get-to- ther” affair, to become an annual ent. An informal program of the music by MacDowell will follow the dinner. It .| will be presented by the artists listed above. Mr. Gannon will come down from New York especlally to preside at this dinner, James-MeI;n. Coming Here. WASHXNGTON will have an early opportunity to hear and see James Melton, tenor, of New York City, popu- lar radio star ‘as soloist in the Seiberling hours. Mr. Melton will come here to sing in the fifth annual benefit concert given by the Women's Guild and Chil- dren’s Emergency Home of the Central | Union Mission, February 28. Mrs. John S. Bennett, chairman of the concert committee, has returned from New York with Mr. Melton's as- surance that he will appear in the event. She sald plans will soon be made for an auditorium sufficiently large to remove danger of overcrowding such as marred last year's concert, and for sup- paramour. After the wedding, when it is teo late, Yolanga learns porting talent in keeping with the repue tation of the distinguished soloist.* THE SUNDAY STAR, WASHINGTON, D. C., JANUARY 19, 1930—PART FOUR. PRINCIPALS IN AMERICAN COMPANY WHICH PRESENTS OPERAS IN ENGLISH ——— (Wechestzy) Bal Ba}leme Masq\-‘e Ha! Special Musical Score L Adventurers: A Masque,” is the simple programming by the Arts | Club of what is planned to be a bril- illant succession of rapidly changing scenes and tableaux, with special mu- sical setting. Characters, real and im- aginary, will come marching down the centuries in the Willard ball rooms a week from tomorrow at the Bal Boheme of 1930. ‘The rhythm of drums will herald the vast procession, changing to authentic American Indian dance music as the McKinley dancers make their entrance as the 11 Mayan devil dancers, followed by adventurers of all ages and nations— the Norsemen, the Genoese, the Con- quistadores and imperial Spain, the last-named group to the entrancing strains of a marvelous Spanish march, “Empietza la Corrida.” Chopin’s “Polonaise in A Major"” will accompany the Victories, to he led by Flora McGill Keefer; buccaneers of the Spanish Main, including such lusty sing- ers as Harry Angelico and Robert H. Davidson, will have their own musical setting, appropriate to the theme of “Pirate Gold.” A dance of the Argentine by Lisa Gardiner and Paul Tchernikoff will be a feature of the processional. It is to be called the “Baile Argentino,” and was arranged by Miss Gardiner, who has made a special study of the dances of Spain and Latin America. Changing suddenly to “Susanna, Don’t You Cry,” a popular tune of 1849, the music will usher in the scouts of the Oregon Trail, and later the “steam- boat girls” will stage “Waitin® for the Robert E. Lee.” Charlotte Patterson and Helen Griffith, two well known dancers here, will do the “leads” in this frolic, which is to be followed by a “plantation dance.” Allie Carroll Bowers of Troy, Ala., will come to the city especially to ap- pear at the Bal Boheme in this deligh’- ful old dance of the Southland. A graduate of the Ward Belmont College of Nashville, Tenn., this daughter of the South has made a great success in this type of American dance. It is expected that “Ole Man River” will be the-or- g}:estrnl accompaniment for this ndm- o5 ‘The scene and the music will shift suddenly to the frozen North. Again the McKinley dancers, an entirely dif- ferent group, as “frost maidens,” wiil dance, with Orme Libby as Flaming to the jazz tunes of the present day while for finale George Gershwin famous “Rhapsody in Blue” will serve to introduce Caroline McKinley in per- son as the “ship of the skies,” the goal of the adventurers of the future. Notes About Composer of “New England Symphony" DGAR STILLMAN KELLEY, Ameri- can composer, is descended from New England ancestors. He was born in Wisconsin, musically trained in Eu- rope and later lived for a number of years in both San Francisco and New York City. He now lives in Ohio. Should a stranger happen to pass through the picturesque college town of Oxford, Ohio, very likely the first place pointed out to him would be the com- the campus of Western College. It is here that this composer, known on both sides of the Atlantic, is now doing his creative work. ‘The “Symphonic Variations on a New England Hymn,” to be given as a fea- ture of the first concert by the Wash- ington Symphony Orchestra, January 31, are a part of an elaborate symphony which Henry T. Finck said could be 1enked with'those of the masters of all countries. . Its many productions have won much recognition. “The New England" is sald to have had more productions than any other American symphony. All leading American orchestras have play- ed it. It also has had European per- formances. TWO Youth, the last of the “Adventurers,” | % position studio of Stillman Kelley on | g, BeTTINA HALL-Carmren” “Yolanda of Cyprus,” American at Poli’s Theater at 8 p.m. at Constitution Hall at 4:45 “Madame Butterfly,” (Pucecini) at Poli’s. Poli’s. 8:30 pm. Theater at 4:30 p.m. 8:30 pm. THE AMERICAN OPERA CO. Tomorrow, Tuesday, Wednesday. The American Opera Co., directed by Vladimir Rosing, and composed entirely | of young American singers, which give all their performances in “the language of its audience”—English—returns for its third local season this week. Four operas will be sung here within the next three days. The opening event is an American work to be given fits| ‘Washington premiere at this time. The story of the opera is printed elsewhere on this page. ‘The operas to be given and their casts follow: Monday at 8 pm, Cyprus” (Loomis). Renier Lusignan, & King of Cyprus John Moncrieft Edith Piper arles Kullman betrothed . Natalie Hall “Yolanda of Berengere, his wife his_son, ward of Berengere, to Amaury Camarin, Bar Vittia Pisa Thomas Houston ‘Walter Burke Marla Matyas Doreen Davidson Geraldine Avers Ruthadele Willlamson Vittia.....Helen Golden Tremitus, & physician . Lagle of the court— e Revmond O'Brien - William Scholtz | 3. Frederic Roberts e Van Grove. Tuesday, 8:30 p.m., “Mme. Butter- fly” (Puccini). Cho-Cho-Ban ... ki .Cecile Bherman Surul H arriet Eells Edith Sharpl Pinker Van' Grov: “Carmen"” (Bizet). . Bettina Hall Charles Hedley illard Schindler .Peter Chambers ... John" Uppman cy McCord dison Rice Mark Daniels Hel: Golden E Markaret Fverett Winifred Goldsborough Tsanc Van Grove. “Faust” Spanish_de Conductor, Wednesday, 8 pm., nod). Faust, the philosopher Faust. the cavaller. Mephistopheles . Valentl Siebel Wagner (Gou- Charles Kullman VIOLINISTS AND A JASCHAHEIFETZ- ERNA RUBINSTEIN- Constitution Hall ($5t) " EVENTS OF MONDAY. | Minor” and “Waltz in A Flat.” /1/;)///5 wer (Wed) CeciLE SHERMAN- - HARLES KULLMAN-Y6/nds of Cypress” | i LES (/Vo”day)o onds of Cypress THE WEEK opera, by American Opera Co., TUESDAY. Philadelphia Symphony Orchestra, Gabrilowitsch conducting, p.m, in English, by the American Opera Co., at Poli’s at 8 p.m. Rubinstein Club Concert, Willard Hotel, at 8:30 p.m. ‘WEDNESDAY. Erna Rubinstein, violinist, and Rudolph Ganz, pianist-conductor, in joint morning program, 11:15 a.m., the Mayflower: “Carmen,” (Bizet) in English, by American Opera Co., at 2 p.m. "Fau!tt.,” (Gounod) in English, by American Opera Co., at 8 p.m. THURSDAY. Weldon Carter, pianist, in recital at Masonic Auditorium, at FRIDAY. Maxim Karollk, Russian singer, in recital at the National SATURDAY. Jascha Heifetz, violinist, in recital at Constitution Hall at atalle Hell arriet Eells Conductor, Isaac Van Grove. ‘These performances are given under the auspices of Mrs. Wilson-Greene, who also is presenting the company in Baltimore the end of the week. PHILADELPHIA ORCHESTRA—Tues- ay. Ossipp Gabrilowitsch, conductor of the Philadelphia Orchestra, will lead the following program at Constitution Hall Tuesday at 4:45 p.m. Overture, “‘Oberon”............ 4 y No. 4, in'E Minor""’ opera “The Basaue Vi Symphonic poem, ke ‘This is the third program given here this season by the Philadelphians. They are presented by T. Arthur Smith. RUBINSTEIN CLUB—Tuesday. The Rubinstein Club will present George Knisely, young New York bari- tone, at the first concert of the sea- son in the ballroom of the Willard Ho- tel, Tuesday at 8:30 pm. Lawrence Strauss, originally scheduled, is unable to_appear due to serious iliness. Mr. Knisely is said to be a versatile young American artist. The Rubinstein Club will sing four groups of songs, beginning as usual with a Rubinstein number, “Yearnings,” ar- ranged by Claassen; “Every Flower,” from “Madame Butterfly” (Puccini); “The Fairy Lullaby” and “Faithful Johnny” are to be given. Adele Robin- son Bush will be the accompanist. Mrs. Howard Blandy, former accompanist of the club, will plnsy“’ -'e‘egnd plano during )5 | the “Peer Gynt RUBINSTEIN-GANZ RECITAL— ‘Wednesday. Ema Rubinstein, a gifted mm vio- linist, and Rudolph Gansz, nof planist and conductor of the St. Louls Sym- phony Orchestra, will appear in joint recital under the auspices of Mrs. Law- rence Townsend at the Mayflower Hotel, Wednesday at 11:15 a.m. Mr. Ganz Is to open the program with two Chopin numbers, “Nocturne in C Later he will play two of his own composi tions, “In May” and “After Midnight two Debussy numbers, “The Girl wif the Flaxen Hair" and “Fireworks"; and a group of Liszt works, “Forgotten Waltz,” _“Liebestraum” ind _“Hun- garian Rhapsody No. 15" (Rakoczy Rubinstein will play: “Ave march). Miss * “Modame Luvtterfly” (7vesdsy) Maria,” Schubert-Wilhelmj; tions on the G String,” Paganini odie,” Gluck-Kreisler; “Csar Hubay; “Nocturne,” Chopin; “Serenade Espagnole,” Chaminade-Kreisler, and “Perpetuum Mobile,” Ries. Josef Boni- me will assist Miss Rubinstein at the piano. WELDON CARTER—Thursday. Weldon Carter, a well known planist of Washington, will appear in recital at Masonic Auditorium, Thirteenth and New York avenue, Thursday at 8:30 p.m. Mr. Carter's program will include: “Theme and Variations B Flat Major,” Haydn; “Intermezzo C Major,” Brahms; “Chromatic Fantasy and Fugue,” Bach; “Pantasy F Minor, Opus 49,” “Noc- turne F Shrap Major,” and “Etude C Major,” Chopln; “Gavotte” Saint- Saens; “Liebestraum, No. Lisat; “Rhapsody, No. 12,” Liszt. T. Arthur Smith is presenting this event. MAXIM KAROLIK—Friday. ‘The song recital scheduled to intro- duce the picturesque Russian tenor, Maxim Karolik, to the public of Wash- ington will be given Friday at 4:30 p.m. at the National Theater. Mr. Karolik will have assisting, Har- riet Colston, soprano, with whom he will sing several opera duets, including one from Puccini’s “Tosca” and one from the same composer's “Mme. But- terfly.” Nicholas Slominsky, Russian accompanist, will open the program with the “Magic Fire” music from Wagner's opera “Die Walkure.” Mr. Karolik had trained in the “Theater Musical-Drama” founded in Petrograd in 1911. The “gesture” is not absent from his song recital. The program Friday ranges from Gluck through the modern French and Itallan, with two groups of Russian songs. Mr. Karolik will sing an aria from Gluck's “Iphigenie en Tauride”; an aria from Tschaikowsky's “‘Chere Zichky” (Little Slipper); “Le Manoir de Rosemonde” (Duparc); “The Brook’s Lament” and ‘“Rondea (Through the Fold of Your Rosy Dress), both by Cec- coni. Then come the Puccini duets, and after that the Russian groups include “Christ Is Risen” (Rachmaninofl); “Call of Freedom” (Balakirev); “Little Star” (Moussorgsky); “Enticement” (Tschalkowsky); with the = second group, “The Sleeping Princess.” a fairy tale, and “The Sea” of Borodin; “Over the Steppe” of Gretchaninoff. and “The Waves Dashing and Breaking” of Rimsky-Korsakov. Miss Colston will sing in a group of solos, “Bors Epies” of Lully, “Les Pa- pilons” of Chausson, “Allerseelen” of Strauss and “Der Traum” of Grieg. T. Arthur Smith is presenting this recital. “‘Varia- “Mel- Scene,” 2" HEIFETZ—Saturday. Jascha Heifetz, violinist, will play at Constitution Hall Saturday at 8:30 p.m. as the fourth attraction in Mrs. Wilson- Greene's evening' series of concerts at that auditorium, He will be assisted at the piano by Isador Achron. He has selected a splendid program for his only local appearance of the Winter. Helfetz will open his concert with the Tremais “Sonata in F Minor. This will be followed by a Tshaikowsky concerto. Then comes a group of five selections— Kreisler's arrangement of Mendelssoh “Song Without Words,” Elgar’s “Capri- ceuse,” Strauss’ n Einsamer Quelle,” Helfetz’s own “Horra Stacatto” (Ru- manian) and Honegger's “Presto.” The program will close with Hubay's “Scenes de la Csarda.” Although Heifetz has been before the American public 12 years, he is only to- day 28 years old. He made his Ameri- can debut at the age of 16, but he al- ready had seen seven seasons of concert in Europe and was a mature and sea- soned artist when he arrived. Born in Vilna, Russia, in 1901, Heifetz began his studies at the age of 3 under his father, an orchestra violinist. Entering the Vilna Conservatory at 5, he graduated at 8 and began & course of study under Prof. Leopold Auer. Bits of Life in Opera Careers “Practical Jokes in Opera™ HEN something funny happens at a | solemn moment a laugh is harder | to suppress than at any other time.| That is why in grand opera, so dignified | and so majectic, humorous mishaps cause an audience to rock with laugh- ter. Meanwhile the singers are strug- gling not to do the same. | Worse still, however, is the practical joke played on some singer engaged in | a performance. The audlence, not see- ing any reason for merriment, feels nat- urally indignant. But in gay, light- hearted Italy practical jokes in opera are not uncommon, Therefore, in Italy I had experience with them, though be- fore that there came experiences of quite another kind. | My first appearances in that country were at Livorno, Spezzin and Turin. They promised well. Suddenly engage- ments ceased. From March to July, though my voice was in good condition and I had worked hard, no chance to sing came my way. | Down-hearted, I was walking one hot July afternoon in the Galleria, Milan’s gay arcade of shops and cafes. A man | stopped: me to ask if I would sing the next night in “Cavalleria” at the Care- | ano Theater, the tenor engaged there having suddenly decamped. A hag- gling manager finally agreed to give me | the equivalent of $20 a performance. Better that than nothing, or to pay for | the privilege, which I would never do, though aspirants in Italy were some- times subjected to it. Things went well in “Cavalleris Presently I was engaged to sing at the important Dalverme Theater, in the same city. Other engagements quickly followed. One night as Cavaredossa in “Tosca” came something I shall not| forget. After the tenor’s big aria in| the last act people gave me my first real ovation, yelling for an encore. How my heart leaped! It meant a step to- ward a New York engagement and| home. Later on I was appearing as Rodolfo in “Boheme.” We were well on toward the close of the last act, Poor Mimi, her hands already chilled by approach- ing death, had been singing longingly of the little muff which poverty had forced her to pawn, and was just hav- ing it restored by the generous friend who pawned his own coat to redeem it. Singing caressingly, Mimi, on slipping her hand in the muff, began to shake with laughter. Holding it between her face and the audience, that doubtless thought her dying in convulsions, she hoarsely whispered to me, “Somebody has put links and links of sausages into this old muff.” You may imagine how badly we succeeded in keeping grief- Dates for Bach Festival Have Been Announced dates for the 1930 Bach festival are announced as Friday, May 16, and Saturday, May 17. The festival will be held in Packer Memorial Church, Lehigh University, Bethlehem, Pa., which has been its home ever since the reorganization of the Bach Choir in 1911, ‘The “Mass in B Minor” has been the pillar of all the festivals. In the begin- ning it was the solo work, at the one- day festival in 1900. Since then it has been the final work at each festival. It will be sung for the twenty-third time, in its complete form, by the Bach Choir in Bethlehem, Saturday, May 17. In the past several seasons the solo parts in the mass have been sung by the respective groups of the choir. It is likely that at the coming perform- ance a return will be made to indi- vidual soloists, thus affording an inter- esting comparison with the group sing- ing of recent years. Circulars will be issued in due time, giving the details concerning soloists, orchestra, ete. Orchestra and Opera Music Scheduled for Early Dates AN important orchestral concert on the musical horizon is the appear- ance at Poli's Theater Tuesday, Febru- ary 4, at 4:30 o'clock, of the Boston Symphony Orchestra, Serge Kousse- vitzky, conductor, This will be the third attraction in Mrs. Wilson-Greene's Artists’ Course. This concert will mark the only appearance in Washington this season of the Boston Symphony, which usually plays two concerts each’ season in the Capital. Owing, however, to the demand for added concerts in Boston and New York, Mr. Koussevitzky will make but the one trip this Winter below the Mason-Dixon line. Another important attraction of the same week will be the appearance at Constitution Hall, at Eighteenth and C streets northwest, Saturday evening, February 8, of Rosa Raisa and, Glacomo Rimini, soprano and baritone, respec- tively, of the Chicago Civic Opera Co., in an operatic program. This will be the fifth attraction in Mrs. Wilson- Greene's Saturday evening serles at Constitution Hall. . Ossip GABRILOWITSCH- Constitvtron Hall( Tves) Sold}e;;' Hon';c Orc—hestra. HE orchestra of the United States Soldlers' Home Band (John 8. M. Zimmermann, leader, and Anton Point- ner, assistant) will give three concerts, as usual, Tuesday, Thursday and Satur- day afternoons at 5:30 o'clock in Stan- ley Hall. The program will, as usual, FREDERICK JAGEL. " | stricken faces, as we were supposed to 0. Soon afterward I was singing for the first time as Alfredo in “Traviata.” My hopes hung on the performance. I was putting heart and soul in it when & joke broke on me in the second act. My Violetta had fled, and I was snatche ing up her letter which was to tell the news. Tearing off the envelope with lover's passionate haste, instead of sheet of paper, I saw the funniest drawe ing I had ever laid my eyes on. Something still worse, in which I was happily not to share, came to a prims donna in Mozart's “Magic Flute.” She sang the role of the Queen of Night. And there on her throne she had to sit and sit and sit while others did all the singing. At last her turn came. Up she rose majestically to start on her great aria. In that moment a baritone, an inveterate joker, swiftly put something on the red velvet cush- jon she had just vacated. It was well that she could not see what all the other singers did. On that cushion lay a big goose egg in glistening white= ness. (Copyright, 1930.) Musigraphs THE Friday Morning Music Club will present the Natlonal String Quar- tet at the morning program Friday. Florence Sindell, soprano, will sing & group of songs, including “Traume,” by Richard Wagner, with accompaniment by the quartet. For her other songs Mildred Kolb Schulze is the accom= panist. Members of the quartet are Henrl Sokolov, first violin: Max Zinder, sec- ond violin; Samuel Feldsman, viola, and Richard Lorleberg, violoncello. ‘The District of Columbia Federation of Music Clubs is giving a series of concerts for junior members. These are designed to give the teachers opportu= nity to show their work, to give chil= dren experience in playing before an au- dience, and to promote musical co-oper= atlon in general. ‘The first concert will be in February, the second in March and the third in April. The April concert is reserved mainly for concerted numbers, trios, etc. Any members having pupils they wish to enter for these concerts are requested to send their names to Mary Ware Gold- man, 720 Twenty-first street northwest, before February 1. Rho Beta Chapter of Mu Phi Epsilon Sorority will give a program at Walter Reed Hospital Thursday. Clara Young Brown, soprano; Gertrude Dyre, pianist; Ruth Logan, violinist, and Frances Bronson, accompanist, will be assisted by Catherine Logan, reader. ‘The January program meeting of the chapter illustrated musically develop- ment of the dance forms from early English country danccs to the waltzes. The program was presented by Helen Le Fevre Lyon, violinist; Dorothy Rus- sell Todd, and Anne Smith, planists. Nellle Barber Brooks, lyric soprano, will sing a group of theme songs in con= nection with the playlet, “The Daughe ter of Allah,” to be Yresflnled by the International Association of Arts and Letters at All Souls’ Unitarian Church ‘Thursday evening. The group will in- clude an Arabian song by Paul Vogrich, and “Arabian Love Song” by de Koven. Eva Whitford Lovette will assist at the piano. Florence Jackson Stoddard, president of the organization, is arrang- ing the program. { Flora McGill Keefer, mezzo-contralto, will be the assisting soloist in & program ! of modern French music, to be present- sd by Lewis Atwater, organist, this afternoon at 5 o'clock at All Souls Church (Unitarian), Sixteenth and , Harvard streets. Ina Holzschelter, soprano; Catherine Gross, _contralto, and Helen Williams, combine classic and ligater numbers. (Continued on Fourteenth Page STUDIOS OF OSCAR SEAGLE Continues ~Teaching at King-. Studio-School First and third Tuesday each A few open places for priv: sons and in the Master Cla: teaching day, Jan. Call the Secretary. North 10385. BESSIE N. WILD Voice Culture, Plano and Harmony Studio 6824 5th st.. Takoma D. C. Phone Georgia 3233 Mrs, Hamilton-Wolfe Pupil Xaver Scharwenka, Berlin, Germany. etc. | Plano lessons, reasonable. in studio or in pupil's home. ~ Graded courses. =~ Write 5210 17th St._N.E. _Phone Decatur 400-W. SR e SR IN"20" LESSONS ™" SAXOPHONE, BANJO, GUITAR Clarinet, Trumpet, Ukulele, Ete. chestra Training—Send for Boaklet nsen School of Popular Music h_St. N.W. ___District 123 Alice Eversman Will Hold Auditions —and for those who wish to have an opinion of their work Tuesday, Jan. 22 Registration Fee for an Audition, $5 Avplications to Miss . d 3 in charge of the course, 1705 K St. WASHINGTON WALTER T. HOLT Ensemble .P‘N. lea Clubs 1801 Columbia Rd. N.W., Col. 0946 Institute of Musical Art, Instructions in Al hes Grades of Music leadine ilom Degrees. Best_ European servatories. Inc. d t Stang I of and American C d for Catalogue. 831 18th St. N.W. Met. 2511 Louise Coutinho Master Pupil of Eugene d'Albert and Eoon Petri, Berlin Latest and Most Efficient Methods in Piano Instruction. 2013 New Hampshire Ave. ac 4280, ¢ An Established Conse: on European Li; North WASHINGTON & CONSERVATORY OF MUSIC, Inc. 1408 New Hampshire, at Dupont Circle Announces Arrival of SIGNOR ANGELO LIGUORI of Naples, Italy, teaching exelusively as ead of Voice Department FREE ITIONS LY Jded Courses tn All Branch ing to Certificates. Diplom: Catalog. Children’s Depi Orchestra. ory