Evening Star Newspaper, October 27, 1935, Page 64

o THE SUNDAY STAR, WASHINGTON, D. C, OCTOBER 27, 1935—PART FOUR. AMERICAN BALLET AT METROPOLITAN : CURRENT EVENTS- Dance Being As New, Progressive Art Dr. Kindler, in Philadel With Background L2 phia, Renews Contract of Earlier Career Developed in This Country. By Alice Eversman. N NO department of the arts does | one sense such a genuine desire for development as in the dance. Within the last few years, the importance of the dance as & medium of artistic expression has grown immeasurably, and its appeal has brought response from all strata of civic life, far greater than music by itself has been able to accomplish. Not only are more people dancing today, but there is distinct evidence that these same people are desiring a form of their own, ca-% pable of reproducing the particular | characteristics of the present trend of living and thinking, and the influences which are constructing our national life. Realizing that this new urge of American dancers must be given an| opportunity to try its wings, a group of artists formed the American Ballet School about a year ago. The aim of this school is to apply the fine technical knowledge of the ballet, as used in| Russia, France and Italy, to the very| modern, energetic and progressive | ideas of the youth of this country. So successful has been the work of the students and so compellingg in in- terest that this group has been chosen to replace the long established ballet corps at the Metropolitan Opera this coming season. THE American Ballet is at present % on tour and will not take part in the opening performances at the opera, but the director of the school, George Balanchine, will be in charge of the first ballet features to be given until January, when the dancers return from their concert appearances. When the routine is established, it is expected that the production of ballets separate from the divertissements included in the opera performances will form a prominent part of the Metropolitan repertoire this Winter. This is a distinct departure from the old order of things, and promises to add brilliancy to what is ever con- sidered among the most brilliant events of the musical season. In Europe the ballet has always held special place in the operatic sched- ule, with entire evenings devoted to its dance programs. This has not been the custom in America, perhaps be- cause the ballet corps was sufficiently taxed in preparing the dance moments that form outstanding scenes in many operas. Under Mr. Balanchine’s di- Tection the American Ballet will pre- sent the new numbers in which it specializes, the new and progressive art which has at last come into its own in America’s leading opera house. | | 'HE personnel of the ballet is almost entirely American. Already its adaptation of the classic ballet tech- nique to modern themes has caught the attention of the public and won over many who kad adopted the belief that the sharply defined manners and ideas of the present held little es- thetic value. The American youth is, above all, athletically inclined, yet there is a grace and freedom in the wholesome movements that can be as expressive as the most studied gesture. But this is insufficient for artistic dancing if there is mot a thorough knowledge of music and broad general culture that can stimulate a flow of original ideas. The American Ballet School has gathered together the best of each of the great schools of the dance and brought it to America to be at the service of the alert, healthy and tal- ented youth of this country. It will be interesting to follow the ballet's programs at the Metropolitan this Winter. Today Dr. Hans Kindler, direc- tor of the National Symphony Or- € UTUMN TONES,” the first of a series of 10 events to be given by the Lovette Choral Club this season, will take place tomorrow night at 8:15 o'clock in the club studio, 1325 G street. The soloists will be Francise Bass Wilson and Nellie Barber Brooks, sopranos; Eleanor Thomas, dancer; Nell Duree Norris and Arthur H. Fast, readers; Elsie Cranmer will be at the piano. Ethel Lynn Fast is in charge of the program and Margaret C. Smith, pres- ident of the club, is hostess. Active and associate members are invited and guest tickets may be obtained from club members. A program of songs will be pre- sented by Charles Trowbridge Titt- mann, bass, at the Arts Club this evening, with Lucy Brickenstein at the piano. The program for the music hour at 5 pm. today at the Y. W. C. A, Seventeenth and K streets, will be given by the Schubert Singers, Jesse Veitch and Bob Wilson, first tenors; Willlam Jackson and David Meily, second tenors; Hugh Miller and Mel- vin Houseman, first basses; Vernon Hill and Oscar Kuldell, second basses. Mrs. Chester Adair is director and accompanist. Helen Turley, contralto, will sing the obbligato to the “Seraphic Song” by Rubenstein. Men and ‘women are cordially invited. T. Guy Lucas announces a series of organ recitals to be given in St. John’s Church, Sixteenth and H streets, at 8:15 p.m, on the last Mon- day evening in each month. Included in the program for tomorrow are a Bach “Prelude and Fugue in C Minor,” the Handel “Fourth Concerto” and the finale from Schumann's “Over- ture for m‘m’“ Op. 52,” and two numbers by choir of men and boys. The Newcomb-Bethesda Community Sings, Ruth L. Morgan, director, will give a musical program this aff noon from 4 to 6 o'clock at the Bat- tery Park club house, for which the guest artists will be David H. Manley, tenor, and Victor Halstead Neal, pianist. Sigma Alpha Iota, national profes- sional music fraternity, is forming an alumnae chapter in Washington. Interested members may call Hazel Brown Plers or Mrs. Fred Knoblock for information. This evening at 8 o'clock in the Mount Pleasant Congregational Church the first musical service of the season will be given. The Mount Pleasant Chorus, under the direction chestra, is conducting the Philadel- phia Orchestra at the Academy of | Music, Philadelphia, for the third | consecutive time. He will lead the orchestra again on Tuesday, finishing | a short season as guest conductor of | the famous symphonic organization | of a neighboring city. The fact that Dr. Kirdler was chosen to take the place of Leopold Stokowski for these | four concerts is a source of general | gratification to his many admirers in this city. | The wheel of life revolves in inter- esting fashion as witness this little story: A short month before the World War began Dr. Kindler, then first cellist of the Berlin Opera, came for a six weeks' visit to this country. He had a return ticket for the middle of August, when his visit was to finish, dbut never used that passage. The war began, and he, as did many oth- ers, waited for that early termination which was so hopefully promised at that time. But the months passed and the situation in Europe grew steadily worse and the young man de- cided he must do something in Amer- ica until he could return to his duties abroad. In spite of his reputation, all doors in New York were closed to him, and it was then he thought of the orchestra in Philadelphia, the ranks of which had been depleted by the call to arms for many of the men. E JOURNEYED to Philadelphia and applied for an audition, only to hear the usual excuse that all va- cancies were already filled by Dr. Stokowski. However, a fellow coun- tryman, himself a member of the orchestra, asked to hear him, and was so impressed that he brought the young cellist to Thaddeus Rich, con- | certmaster, at that time, of the orches- | tra. When Dr. Rich heard him play he aranged an audition without more ado with the celebrated conductor, | with the result that he was made first | cellist of the already famous Phila- delphia Orchestra. For several years Dr. Kindler held | his post in the cello section in spite | of his growing fame as a soloist. Under the directing baton of Dr. Sto- kowski, he played the entire repertoire of the organization, which even then was celebrated for its superb inter- pretations of classics and moderns alike. This excellent grounding has shown splendid fruit in the programs given by the National Symphony, the organization of which Hans Kindler dreamed, and saw his dream come true. Today Dr. Kindler is back in Phila- delphia with the orchestra that gave him sanctuary when hard times caught | him. He returns to the organization which knew him as first cellist, be- cause of his success as a conductor, & reputation which is rapidly grow- ing beyond the limits of the city of his adoption. He has brought beauty to his local audiences and stimulated the musical circles to greater en- deavors. It must be a deep satisfac- tion to Dr. Kindler when he remem- bers that he has organized and developed an orchestra that may, at | 10 far time, rival the one he is direct- | ing today. usic Circles of Norton M. Little, with Claude Robeson at the organ, and Mrs. Rus- sell J. Clinchy, soprano, and William P. Shanahan, tenor, as soloists, will render selections from cantatas and | the classics. The public is cordially invited. | The Junior Quartéet Choir of the Chevy Chase Baptist Church, under the direction of Thomas N. Leef, will sing for the first time this season at the service tonight. The quartet members are: Phyllis Munger, soprano; Alice Munger, con- tralto; Paul Roundy, jr.. tenor, and Adon Phillips, bass. Mr. Leef will sing a solo by request. Mabel H. Teste will be at the organ. Warren P. Johnson, organist, will play “Funerale” Op. 75, No. 1, by Sigfrid Karg-Elert, before the eve- ning service at the Church of the Pilgrims today. Naro Locksford announces the open- ing of his studio of dancing at 1333 Connecticut avenue, where he will teach all branches of dancing. Mr. Locksford was born in Paris, France, and while playing at the Folies Ber- gere was put under contract by Morris Gest for appearances in America. With his sister he introduced adagio dancing in this country. Mr. Locksford has re- g’nbc:y completed a tour of Mexico and The October meeting of the Lyric Music Club, Dorothy Sherman Pier- son director, to be held at the home of Thelma E. Steele Tuesday evening, will be devoted to the life and com- positions of Robert Schumann. Anita Schade will give a talk on the com- poser, as well as a dramatic reading with music. Edna Cecilia Moreland and Thelma Elizabeth Steele will sing the Schumann “Frauen Liebe und Le- ben,” with Marjorie Gilreath at the piano. Gertrude Lyons, soprano, sang for the memorial service held during the opening session of the Supreme Coun- cil of the Thirty-third Degree, Ancient and Accepted Scottish Rite, last Mon- day morning in the House of the Tem- ple on Sixteenth street. Harry G. Kimball presided at the organ. The Mount Vernon School of Mu- sic, R. Deane Shure director, depart- ment of piano, presented the follow- ing students in a junior recital last Saturday: Nancy June Allen, Jack Anderson, Betty Barringer, Muriel Hadley, Z. T. Hamilton, jr.; Norma Jeanne Harriss, Horace Boyce, Paul Edward Rose, Dorothy Scott, Ruth Soloists in Coming Concerts At left: The celebrated violinist, Fritz Kreisler, who returns on Wed- nesday, November 6, for his annual recital at Constitution Hall, under the management of Dorothy Hodg- kin Dorsey, and, right, Grace Cas- tagnetta, the young pianist, soloist on today's National Symphony pro- gram, which will be directed by Willem van Hoogstraaten, as guest conductor. Below: Betty Baum, pianist, with Milton Schwartz, violinist, will be heard in a sonata recital tomorrow evening at Pierce Hall, and, right, Regina Vicarino, operatic soprano, one of the artists appearing on the program spon- sored by the Ladies’ Oriental Shrine atthe Shoreham Wednesday evening. course in vocal study at the Chigana Music Conservatory, Siena, Italy, was soloist for the Montgomery County Soroptimist banquet at Olney Inn last Monday. Sue Blandy was the accom- panist. | At the first meeting of the new sea- son the local chapter of the American Guild of Organists honored three of its members who successfully passed the examination for the associate de- gree last Spring. The members were each presented with a copy of the complete orchestral scores of all of Beethoven's symphonies. The suc- cessful candidates are: Mrs. Macon R. McArtor, secretary of the chapter; Kathryn Hill Rawls, organist of West- ern Presbyterian Church, and C. Rich- | ard Ginder, a student of the Sulpician Seminary. { Judy Lyeth, prominent Washington dancer, has joined the teaching staff | at the Studio of Theater Arts, Con- | stance Connor Brown, director. Miss Lyeth will offer a course in rhythmic dancing. | A musical program will be given at the Calvary M. E. Church South, 3028 Q street northwest, on Saturday at 8:15 p.m., under the auspices of Louis Potter, jr, director. The guest soloisis will be Dr. Lawrence Petran, organist, member of the faculty of Peabody Con- | servatory; Ruby Potter, soprano; Helen ‘Ware, contralto, and Paul Ledig, tenor. An offering will be taken for the organ fund. who recently returned from a Summer : Tea:hers MCC[ TOmOl’l’OW- | Michon, 'HE October meeting of the Wash- ington Music Teachers’ Associa- tion will be held tomorrow evening at 8:15 o'clock in the auditorium of the Arts Club. Dr. Nikolai Sokoloff, director of the Federal music projects of the Works Progress Administra- tion, will address the association and the Pro Musica Quartet of the Cham- ber Music Society will play a pro- gram. The season’s dues are payable at this meeting; those interested in membership in the association are requested to communicate with Myron Whitney, chairman of the Member- ship Committee. T Russian Benefit. « ¥ COMMEMORATION of the “Day of the Russian Child,” Washing- ton's Russian colony is staging a gala | benefit celebration at Pierce Hall Sat- urday evening, proceeds to go to the Russian Refugee Children's Welfare Society, which cares for needy Rus- sion orphans in various parts of this country. Mme. Marie Zalipsky, representa- tive of the society in Washington, is director of the program of entertain- ment. Dr. Vladimir Gsovsky will act as master of ceremonies for the event and Mrs. J. J. Mack will be hostess at a reception following the program. The artists giving the program will be Marjorie King, Sola Holman, Lila Zalipsky, Theresa Clancey, Margaret Edmonston, Johanna Konig, formerly with the Moscow Art Theater: Anita Ross, Prince Dmitri Volkonsky and Ronney Cun- ningham. Mme. Natalie Scheffer, playwright and impersonator, will give a dra- matic sketch from N. Gogol, with Mme. Irene Mishtowt. , Performers and gypsy chorus from | & Russian night club will give several | dance and song numbers. | Mme. Seraphine Joukowsky, secre- | tary of the benefit, will assist Mme. | | Zalipsky and members of the com- | mittee, which includes a group of | Russian women active in welfare work | for the organization's branch in Washington. 1 Free Certificate Award. N RESPONSE to hundreds of re- queste from pianoforte teachers, the | Homer L. Kitt Co. announces that| |John M. Williams, music educator, | | will hold a series of lectures for teach- ers at the Knabe Studios in the| Homer L. Kitt Music Co. at 1330 G | street northwest, beginning November | 4 to 8, inclusive. The lectures will begin every morning at 9:30 a'clock and run until 12 o'clock. There is |Kreisler, Miss Moore, | Great Music Series Here Is Forecast: and Tibbett Have Visits in Capital. JFRITZ Kreisler, eminent Austrian violinist, who will inaugurate the Constitution Hall recital season of 1935-36 when he appears there on ‘Wednesday evening, November 6, at 8:30 o'clock, under the management of Dorothy Hodgkin Dorsey, wilk) shortly make his debut as a com- poser for the screen. | Dispatches from both New York and Hollywood confirm an earlier | report that Grace Moore, the Metro- politan Opera soprano .and screen star, during her European sojourn of the past Summer, purchased the screen rights of Kreisler's successful musical comedy, “Cissy”, which had a prolonged stage run in Vienna and | other European cities. | Miss Moore, it is understood, per- | sonally bought the screen rights to | “Cissy” and then turned a handsome profit by sellipg them to her screen producers as a motion picture produc- tion for Miss Moore’s own talents. So 1t appears that, before long, Washing- ton can expect to see and hear Grace Moore in & musical comedy of Euro- pean royalty, with an original score by Fritz Kreisler. | Tickets for Kreisler's only concert | of the current season in Washington are already on sale at Mrs. Dorsey's Concert Bureau, in Droop’s 1300 G street northwest, Lawrence Tibbett, American bari- | tone of the Metropolitan Opera, who | will make his only recital appearance | of the current season in Washington | at Constitution Hall on Sunday after- | noon, November 10, at 4 o'clock, under | Mrs. Dorsey's management, believes | that the presence of numerous op- | eratic stars in Hollywood during the | past Summer will result in a wide- | spread improvement in what plssu{ for acting on the operatic stage. | Most acting of the operatic variety | is inexpressibly bad, believes Tibbett. Histrionics on the singing stage are | too undisciplined. Most operas, Tib- bett points out, are in foreign lan-| guages, whereas few Americans can understand foreign languages. Ac- cordingly, “Acting for the screen,” says Mr. | Tibbett, “especially singing for it, will develop in the opera singer the art ‘of pantomime. Before I made ‘The | Rogue Song', I found it necessary | to revise my entire acting technique. This change in style has been a permanent one, for, in returning to Hollywood for my role in ‘Metropoli- tan’, I found myself stepping natural- ly into the acting style of my fellow players. I think that the other sing- | ers who come to the screen from ! opera will experience the same | change.” | Tickets for Tibbett’s Washington | recital on November 10 will go on | sale tomorrow morning at Mrs. Dor- sey's Concert Bureau, in Droop’s, 1300 G street northwest. o no fee for the entire series of lectures, | |but all teachers planning to attend |shou)d register in advance. There is| no charge for this registration. To | all persons attending the entire course of lectures a certificate from Mr. Wil. Elenl“hlmx will be awarded free of all gineers held at the Wardman Park ! Volkova, Sonia de Blumenthal, Michel ' charges. Fifty Originals Added to Collection Through Gift | by Daughter. RS. ELLA HERBERT BART- LETT of New York City, only daughter of the late Victor Herbert, has just de- posited with the music division of the Library of Congress in Washing- ton a substantial share of her father’s musical estate, consisting of some 50 original manuscripts, among them the full orchestral scores of a number of | Mr. Herbert’s most distinguished and | most popular operettas. The deposit, which is believed to represent the carrying out of what the composer himself would have wished, brings to, the Library a notable addi- tion to materials previously received from Mrs. Bartlett and from Mr. Her- bert himself and insures the per- manent and approp:iate preservation of the bulk of his work. In their extent and in their va- riety the autographs deposited by Mrs. Bartlett present a faithful record of Herbertds fruitful snd many-sided career. The earliest manuscript—not dated, but composed in 1891—is a dramatic cantata, “The Ca written for performance at Worcester County Festival. Next in order is a song from “Prince Ana- nias,” Herbert’s first operetta, pro- duced by the “Bostonians” in 1894. ‘The score of “Woodland Fancies,” an orchestral suite, composed in 1901, belongs to the period of his connec- tion with the Pittsburgh Symphony Orchestra, while an Easter anthem, with full orchestral accompaniment, represents a less familiar aspect of his activity. At the opposite end of the scale is “The Song Birds: An Operatic Out- burst,” written for one of the “An- nual Gambols” of the Lambs’ Club, a ski “Madeleine” himself at the expense of Messrs. Hammerstein and Conried and makes «©w comedy of opera in general. ‘Walker and Raymond Pointner. Phebe Stine was guest artist. Lorraine Esputa Bentley, soprano, 4 Library Gets New Victor Herbert Manuscripts| Grace Breiner Bradley. Washington concert singer and director of voice | training at the National Recording | Studios in this city, was guest artist{ Thursday evening at the annual con- | ention of the Motion Picture En-| Hotel. i Lev L wig Somil “a&«f::; 'é 2: | | Autographed picture of Victor Herbert. beloved composer of im- perishable melodies, inscribed with a few bars of his grand opera “Natoma,” first produced by the Chicago-Philadelphia Grand Opera Co., in Chicago, and an excerpt from one of the many original manuscripts recently do- nated to the music division of the Library of Congress. the beginning and end of the long and memorable series of similar pro- ductions for the stage that constitutes its composer’s chief contribution to the development of American music. Not all of these productions succeeded. But there is no one of them that does not bear somewhere the unmistakable Herbert stamp. Sometimes completing two, three, even four operettas in & single season, Herbert wrote in 30 years nearly 50 works of this kind. Among those that have come to the Library in the form of more or less complete orchestral scores are “Cyrano de Bergerac” (1899, for Francis Wil- son), “Babette” (1903, for Prital Scheff), “The Red Mill” (1906, for Montgomery and Stone), “The Prima Donna” (1908, for Fritzi Schefl), “Old Dutch” (1909, for Lew [Fields), ) “Naughty Marietta” (1910, for Tren- tinl and Orville Harrold), “When Sweet Sixteen” (1910), “The Enchant- ress” (1911), “The Only Girl” (1914), “Princess Pat” (1917) and “Eileen” a817). And in addition to these larger scores, some of them running to four and five hundred pages, there are sig- nificant excerpts from “The Fortune Teller” (1898, for Alice Nielsen), “The Singing Girl” (1899, also for Alice Nellsen), “Mlle. ‘Modiste” (1905, for “Hit” Numbers Are Among| Newest Autographs Deposited Here. What I Want When I Want It” and | “When You're Away,” or—to recall | only a few of the “hits” from “Naughty Marietta,” a score to which the talking pictures have only recently given a new lease on life—"Italian Street Song,” “Ah, Sweet Mystery of Life” and “I'm Falling in Love With Some One.” That Victor Herbert's scores were intended for use and not for show rather adds than detracts from their interest as exhibition pieces. Scarcely | & single number that does not have its full quota of cuts, cues, changes, and directions for copyist and conductor. Sometimes these annotations bear wit- ness to the trying conditions under which the scores were completed, often at the last minute; one number from “Babette” is marked, “Will have the parts for this—opening in Washing- ton!” Elsewhere they record trying conditions of another sort; the over- ture to “The Red Mill,” begun at Lake Placid in the Adirondacks on August 22, 1906, and completed the following day, is headed “Hot as the devil!” Hastily written pencil-sketches enable the student to reconstruct the develop- ment of more than one familiar page; autograph orchestral parts testify to Herbert’s prodigious industry, as does, indeed, the collection as a whole. To say that there are in all about 7,500 pages in the composer’s hand- writing is to estimate conservatively. And in one sense—and an important one—the great majority of these pages are unpublished, for the Herbert operettas invariably appeared with ar- ranged piano parts, never in orchestral score. In the music division of the Library of Congress Victor Herbert’s manu- comprehensive collection of American scores—with autographs of Sousa and Comments on Program of National Symphony Orchestra Today at Constitution Hall at 4:00 P.M. By Dr. Hans Kindler. Willem Van Hoogstraaten, Guest Conductor Soloist: Grace Castagnetta, Pianist “Academic Festival” overture, Brahms HE “Academic Festival” over- ture, with which my colleague, I Mr. Van Hoogstraaten, opens the concert today, was writ- ten for the occasion of Brahms' re- ceiving the degree of doctor of music from the University in Breslau. It is, in contrast to the only other overture the master wrote (the “Tragic” over- ture), gay, happy and exuberant. The actual form is that of a short symphonic movement. As a compli- ment to the university, Brahms based it on a number of German student songs, ending with the universally known “Gaudeamus Igitur.” The music, after a veiled, mysterious start, becomes quite direct and simple and requires no specific comment. | * % * x “Concerto in E Minor for Piano and Orchestra™ Chopin | THE Chopin concerto to be played | by Miss Castagnetta, a young pianist of extraordinary achievements, | is one of the few works in which Chopin used the orchestra. His medium, par excellence, was the | piano, anc even in this work it is me} piano which predominates to such an | extent as In no other work for this | instrument in conjunction with ln} orchestra It is, in fact, even less or- | cehstral than the other concerto—in F | major—but it has, even more than | the other work, all of the typical| Chopin qualities: The melancholy, | the charm, the grace, what the Poles | call “zal.” and which can be trans- | lated only by a combination of the aforementioned qualities. * * X “Eroica” symphony. --Beethoven | THE great significance of Beethoven's “Third Symphony” resides in the fact that in it the master definitely | | struck out his own pathway. The | first two were strongly influenced by | Mozart and Haydn, even though we occasionally hear the greatness that is to come. But in the “Eroica” he vouchsafes us the first glimpse of the | romantic world of which Beethoven was the discoverer. indicates this. Until then symphonies did not have as their motive power the deeply hu- man desire for liberty and strength. Both of these were personified in the young Napoleon, and so inspired Bee- The very name thoven that they were thought by him to be worthy themes for .the sum and substance of a great sylirpnony It is known ho®= e composer, upon hearing tha? Napoleon had hime self crowned Emperor, tore the title page of the work, thereby expressing his disappointment at what he con- sidered his hero's weakness and degradation. He changed the dedi~ cation from Bonaparte to “the mem= ory of a great man” However, the music, thank heaven, he did not change, and we have thereby what can still be regarded as the greatesy ode to liberty ever conceived. As such, it seems to me, we can best regard it. Personally, I but rarely agree with the “literary ideas” other listeners are certain to perceive in certain music. But in this case I do understand the nearly tangible connection between the inspiration and its final result, The spirit of liberty seems to perme= ate the entire work. * ok ok % FROM a purely technical stand- point the introduction of a third horn (carefully considered by Bee- thoven) is important. The symphony is in four movements. The first is the very embodiment of the spirit of free« dom. Materially, it goes as far as the sounding of the main theme (after the much-grander-than-usual devels opment section) against the discord« ing dominant in the violins, until then an unheard-of procedure. The amaz- ing coda, with its sudden modulations and surprising shifts of dynamics, also is a real development in musical science. The long funeral march (instead of the usual adagio) is yet another in+ novation, as is the typically later Beethoven scherzo (taking the place of the more stately minuet), and the finale with its enormous brio and its variations (developed from the gentler rondo form). These four movements constituta this great work, great in many ways— great in conception, great in execu- tion, great in the mastery of a new and more human language—opening up new possibilities for entire gener ations of composers. That is the | great historical and artistic signifi- cance of the “Eroica” symphony. Buf§ it is the end of the funeral march, with its appealing, yes, imploring, hesitating tenderness, which is one of the highest pinnacles in all music, Give Program for Shrime. VARIED program, under the di- rection of Mamie J. Allen will be presented at the Ladles’ Oriental | Shrine Charity Affair to be given at | the Shoreham Hotel on Wednesday | evening at 8:30 o'clock. Part of the | proceeds will go to the Children's Hospital and the remainder to buy clothing for tubercular children. ‘The musical program will be pre- sented by Regina Vicarino, soprano; accompanied by Malton Boyce, Wil- liam Webster and William Moran, tenors; Elizabeth Graebner, at the piano, Norman Frauenheim, pianist: Henri Sokolov, violinist, with La Salle Spier accompanying, and the George Washington University Glee Club, Dr. Robert H. Harmon, director; Paul Gable, accompanist. Dance numbers will be given by Helen Hoyem, Avis Belt, Joanne Lea- sure, Jane Phelps and Virginia Elm- endorf of the Marian Chace Studios, with Lyman McCreary at the piano; Margaret Mary Edmonston and Vir- ginia Barry of the Bekefi-Deleporte Studio; Gertrude Effenbach, accom- panist, and the Capital Society Chil- dren of American Revolution; Mrs. Henry Fenno Sawtelle, director; Mrs. | E. W. Scott, accompanist. Tahmineh Irani, Eleanore Farr, Ella Harlee and Richard Stringfellow of the Hester Walker Beall Studio of the Spoken Word and Mrs Ross H. Johnson, radio star, will be heard in | dramatic readings. et } Medtner Work Featured. HE program for the sonata recital by Betty Baum, pianist, and Mil- ton Schwartz, violinist, tomorrow eve- ning at Pierce Hall will open with | the Beethoven “Sonata op. 30. No. 3.” which was dedicated in 1802 to the | Emperor Alexander I. The “Rain Sonata, op. 78,” by Brahms, which follows, is one of his most beloved works and the only instance of Brahms quoting one of his song melo- dies in an instrumental composition. The Medtner “Sonata op. 21,” which concludes the program, is probably | being played for the first time in| Washington. Medtner is sometimes | called the Russian Brahms. Tickets for the concert are on sale at the Dorsey Bureau in Droop’s, 1300 | G street. soc ® DRO Tibbett Touring. AWRENCE TIBBETT, currently starring in “Metropolitan,” has started on his annual concert tour, which will last until December, when he returns to the Metropolitan Opera Co. SOPRANO SOLOIST DESIRES CHU position: experienced. Address Box 49 Star_office. BESSIE N. WILD | Veice Cult: . Pl I Siadie. G8ti Bin Be MW o™ GEORGIA 3233 Helen Genevieve Wagner Teacher of Piano Teacher's Certificate, Peabody Conservatory, Baltimore, Md. 4511 15th St. N'W. Georgia 8108 Armando Jannuzzi Grand Opera, Dramatic Tenor Voice Specialist Italian Method School of bel canto. 1403 732 13th St. N.W. 9 Mrs. Routt-Johnson-Manning PIANO INSTRUCTION Beginners to Artists. (A Curtis_Institute scholarship won by Dupll Others exclusively trained. plac ofessionally.) St AD. 8206 Conn. Ave. WALTER T. HOLT Mandolin, banjo. guitar, Hawatlan gui« tar and ukulele. Pupils trained for lhame. orchestra, stage and radio playe Ing. Ensemble Practice with Nordica Cluby 1801 Col. Rd. N.W. Col. 0946 " WILLIAM WEBSTER Teo of Singin T inging Protege of the late Enrico Caruso Voice placement opera concert, radio technique. recordings of students' voices for study. ~Student given op- portunity as leading tenor with Chi- Opera Co. last season. North SOPHOCLES PAPAS GUITAR. MANDOLIN, BANJO, HAWAIIAN GUITAR, UKULELE AND BALALAYKA Orchestra_Practice with the Columbis Clubs. Stage and Radio Techniaue. ANDRES SEGOVIA REPERTOIRE s Send for Hteratuz 1 OP’S ® 130G VICTOR RECORD DEPARTMENT “THE MUSIC YOU WANT—WHEN YOU WANT IT” See the New 1936 RCA VICTOR RapIo-Ph ONOGRAPHS $99.75 $169.50 $260.00 / Instrumentis of Surpassing Tone Qualities Why Not Enjoy the Sym:; Popular phonies—The Classics— Music? The Red Seal Victor Records virtually bring the World’s Foremost Artists and Organizations right to your fireside. Experience the Thrill of hearing them there! Our Record Department is by far the largest and best equipped in the city.. Prompt and efficient service is given. 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