Evening Star Newspaper, October 31, 1936, Page 20

B4 Talent in Washington Revealed by Emergency Delay at Kreisler Concert Brought Out Value of Young Artists Assembled by Broadcasting Demands. ' By Alice Eversman. HE unforeseen delay of Kreisler T young artists of the city. for his concert Monday evening at Constitution Hall gave Washington its first opportunity on a big scale to judge of the quality of talent which is possessed by the striving Without any preparation, three pianists and & group of colored singers appeared before that discriminating audience, and not only filled in the long minutes of providing entertainment, but won en-« thusfstic acclaim for the high stand- | ard of work which they presented. There is something to think about | fn the fact that they were ready for | such an occasion and that it was due | to the quick co-operation of two broadcasting stations, the N. B. C. and | WJSV, that the musicians were found &t such short notice and the public spared the boredom of a long wait. | It would have been equally disastrous to present performers who could not have measured up in some degree to the type of artistry which the public had paid to hear, as to have left the sudience squirming in its seats with tmpatience at the delay. The radio stations had these young musicians on their lists, and had tested their ability and knew what they were sending out. Some of them had, for some years past, attempted to gain recognition through recital appearances, but the percentage of gheir admirers could not have been wery large in the 4,000 patrons of Kreisler’s concert that night. It can therefore be assumed that, for a great majority, there must have been con- giderable surprise at the qudlity of talent of these local musicians who have quietly, and for a long time, tried to carve a place for themselves in the public esteem. ’I‘HE broadcasting stations were kind- y lier than the concert public and have given them many opportunities to be heard over the air. This, in itself, is excellent, and proves again how valuable the radio is in its en-| couragement and preservation of worthwhile talent. But, until we have television, a strong element of an art- ist’s success, his personality, is lost or sometimes distorted in a perform- ance in which the listener cannot see the immense accumulation of little things that contribute to the character of a performance. For the coming gen- eration of musicians this is particu- | larly important, for students learn a | great deal from watching technical | methods, as well as the poise which | dictates the ultimate results of a pub- lic appearance. | All this comes back again to the in- | escapable fact that much is done to | provide education for the musically gifted, but little help has been given go far toward launching them on a public carrer. In almost every city the music curriculum of the music| £chools or the public schools is care- fully enough planned so that the stu- | dents finish with a fairly wide knowl- | eige of music and, in some cases, | ready for public display. What will| they do then? Where and how will | they get the money to pay for re-| citals and, if they can invest finan- cially in public demonstration of their fitness as recitalists, where will they | find paying engagements to reimburse them for the outlay? The trouble is that most musical | philanthropy ends with providing for | an education. Only in rare instances have large organizations outlined a method for launching a promising: In Local M OBERT RUCKMAN will pre- sent Lillian Krick in a short piano program tomorrow aft- ernoon at his studio, 1230 | Sixteenth street northwest. Mrs. Krick, who was heard in recital last Spring, will play a group of Chopin preludes, the Wagner-Liszt “Spinning | Song” from the “Flying Dutchman,” and the first movement of the Grieg concerto, The program tomorrow at the Y. W. C. A. hour of music at 5 o'clock will be given by the Orpheus Quartet, directed by Otto Torney Simon. The members of the quartet are Gem Hughes, soprano; Elaine Sebring Ford, | contralto; Jesse Nussear, tenor, and | George Randolph Balthis, bass. Mr. Simon will be at the piano and will also give a brief program notice. Men and women are cordially invited. On Sunday evening, beginning at 8 o'clock, in the Mount Pleasant Con- gregational Church the first musical service of the season will be given. James H. Maunder's “Song of ‘Thanksgiving” will be rendered by the waiting for the arrival of Kreisler by | student and the openings offered do not nearly meet the demand in a proper ratio of the number of fin- ished students to the number of op- portunities to play in public for money. RIGHT here in Washington the op- portunities for musicians ready and capable of a public career, to earn money with their art, are very small. ‘There are many prominent clubs giv- ing affairs at which they want a musical program. Will they pay for the services of an instrumentalist or |a singer, who has spent hundreds of dollars, to be conservative, on his edu- cation? Very seldom. They excuse their indifference to this question with a lot of well-sounding sentiment about the important people who will hear them, and tantalizing prospects | of remuneration at some future time. | In the meantime, the tragic story of | hopes deferred, which makes such | heart-rending reading when found in | the biographies of the long-dead masters, goes on right in our midst. There surely must be some solution to this problem. It is not a point of providing a sort of dole for capable musicians, who will never be able to |advance themselves financially, but will remain always a burden to the charitable minded. All musicians are | willing and anxious to earn their liv- | ing, and, astonishing as it may seem to some, preparing for a concert career and keeping up a standard or improv- ing on it, is real work. And the re- ward is not a one-sided one, for the public benefits from every thing an !lrti.st has to give in more ways than | one. | 'OR all that the majority of music lovers know, we may be harboring any number of potential Kreislers, | Hofmanns or Flagstads, right here in this community. Apparently, we are never to find out about them, unless Fate concentrates on them for a while, or suddenly draws attention to them, as on Monday night. A child of 6 years, who does remarkable work on an instrument, is highly advertised, and eventually some eager person will come forward and save that child from artistic oblivion. But what about a zifted young man or woman around the age of 207 Their publicity value is not so great, but they are prepared with technique and ideas to face the world. How many local organizations would offer them $5 for their pro- grams. Not many. Perhaps, some time, in a long dis- tant and very dim future, a fund will be gathered to pay the costs of re- citals, in which the real talent of the city can make itself known. Some- where, at the end of that dim vista, will be found music lovers who will support such enterprises by their pres- ence, and feel it a civic duty and take a civic pride in so doing. But then why dream of Utopia, when it is so much easier not to exert oneself in any other way than by talking. usic Circles Mount Pleasant Chorus (50 voices), under the direction of Norton M. Lit- | tle, with Claude Robeson at the organ, and Evelina Evans Clinchy, soprano; Mary S. Apple, contralto; Raymond T. Pigott, tenor, and Eugene Kressin, bass, as soloists. The public is cor- dially invited. Isabel Garvin Shelley will give her Autumn students’ recital at her studio, 1824 H street northwest, Thursday. Those taking part in this program are Frank Skiados, Ruth Myers, John Keefer, Marion Wilcox, Lois Brown, La Rue Mordhorst, Frank Cooke, Ruth Ivins, Mary Greene, Joan Greene, Carmon Montes, Grace Vital- | ity, assisted by Walter Keefer, vio- linist, with Florence Ring, accom- panist. The public is invited. The first joint rehearsal of the Rubinstein Club will be held Tues- day at 8 o'clock at the Willard Hotel. Singers wishing to join this organ- ization may arrange for an audition by calling Edith White, chairman of auditions, 1435 Spring Road, or Mrs. Iorwerth J. Roberts, president, 1330 Jeferson street. Russian Gala Benefit. MAXIM KAROLIK, well known Russian tenor, who has not been | heard here in several years, will be the guest soloist at the concert being given Thursday evening at Pierce Hall, by members of the local branch of the Russian Children's Welfare Bociety in commemoration of the *Day of the Russian Child.” Mr. Karolikk will sing two groups of songs, the first including Tschai- kowsky's “We Sat Together”; Mous- sorgsky's “Hopak” and two selections of Borodin's “The Sleeping Princess” and “Conceit.” Following the inter- mission he will sing the “Poet’s Love,” by Schumann. Henry Gregor, Russian pianist and composer, a former student at the Imperial Conservatory of Music in Moscow, now director of music at the National Park Seminary, and or- ganist at the Foundry Church, will play several numbers, among them Soro's “Consolation,” “Asturiana,” by Granados; Lecuona's “Malaguena” and his own arrangements of the “Blue Danube” and Henberger's “Viennese Melody.” Tatiana Gnoocheff, Russian dancer, will appear in two distinctive inter- pretations, a tone picture by Grieg and oriental moods, one by Amani, the other by Tarenghi. Mrs. Star Preston Tew will play her accom- paniments. Miss C. Stanley Thompson, lyric soprano, will sing a group, in- cluding “Zueignung,” by Strauss; an aria from “Gianni Schicchi,” by Puceini; Mednikoff’s “Hills of Gruzia” and a Russian cradle song. Mile. Lila Zalipsky will present two dance num- bers, “Valse Bluete,” by Drigo, and a Russian dance from “Hopak,” a&r- ranged by Henry Gregor. Mme. Marie Zalipsky will be the accompanist. % Choral Society’s Season. AT THE Executive Committee meet- ing of the Washington Choral Society called by Myron Whitney, president, held at luncheon given by Rev. Z. Barney Phillips this week, with Canon Wolven representing Bishop Freeman of the Washington Cathedral and the organist of the Cathedral, Robert Barrow, as guests, it was decided to give, as be- fore, a Christmas candle light pro- gram at Epiphany Church to include familiar carols and portions of the Bach Christmas oratorio. The Brahms “Requiem” to be given in mid-season and a Spring concert are also scheduled. Rehearsals, which have been pro- gressing steadily upon the “Requiem,” will therefore be discontinued and work begun upon the Christmas pro- gram at the rehearsal November 3. There are still a few vacancies in the tenor section. New members should present themselves for auditions at Central Community Center, Thir- teenth and Clifton streets Tuesday between 7:30 and 8 o'clock, as rehear- sals begin at 8, under the direction of Louis Potter, New Course at W. M. 1. MPLETE courses in the technique of piano-accordion playing are now being given at the Washington Musical Institute, Eighteenth and Eye streets northwest, under direction of R. Serrell W. Walker, pupil of An- thony Imbriglio of the Frank Gaviani Accordion School of Boston, Mass, In- struction is given to both adults and minors. Information concerning this in- struction may be had by wri*‘ng the institute or by telephoning. A .. _THE EVENING STAR, WASHINGION, D. C, SATURDAY, OCTOBER 31, 1936. NATIONAL SYMPHONY PLANS TWO NOTABLE PROGRAMS L Ai‘tists Who\ Bring Varied Guiomar Novaes, brilliant Brazilian pianist, who returns as soloist with the National Symphony Orchestra in its first midweek concert Wed- nesday evening, at Constitu- tion Hall. Young Stars Of Opera in Music Here Metropolitan Group to Offer Program of Great Gems. A FESTIVAL of operatic music is announced for Sunday afternoon, November 8, at 4 o'clock, when the Metropolitan Opera Quartet, featur- ing four of the younger stars of the | Metropolitan Opera Association, will | offer a program of arias, duets and | quartets from the world's greatest operatic music, as the opening attrac- tion of Dorothy Hodgkin Dorsey’s first Sunday afternoon concert series. ‘This season, the Metropolitan Opera Quartet is not only all-American, but offers four youthful, vibrant voices that are superbly balanced and blended. The quartet consists of Josephine Antoine, soprano; Helen Olheim, mezzo-soprano; Joseph Ben- tonelli, tenor, and Julius Huehn, bari- tone, and has been especially as- sembled for this Washington engage- ment. All four members of the Metropoli- tan Opera Quartet made their Metro- politan Opera debuts last Winter. Miss Antoine is a Colorado girl, still in her 20s, who has already been heard on Nation-wide broadcasts via radio and whose concert and operatic popularity are just beginning. The same applies to Miss Olheim, who possesses, like Miss Antoine, more than her share of beauty and personality, and who was, only a short time ago, an out- standing radio personality. Bentonelli comes to the Metropolitan after 12 years of operatic work abroad, while Julius Huehn is the youngest baritone at the “Met,” to which he came via 2 national radio contest and the Juil- liard School of Music. Seats for the performance are at Mrs. Dorsey's, 1300 G street. Oratorio Rehearsals. THE Washington Oratorio Society resumed rehearsals in preparation for its fifth season last Monday eve- ning at Langley Junior High School, First and T streets northeast. The rehearsals, as heretofore, will be under the direction of George F. Kortzen- born, the society’s organizer and con- ductor. The group’s annual Christmas per- formance of Handel's “Messiah” will be the concert for which preparation will be made every Monday evening. This will be the fourth successive year in which Handel’s great work ( will be given by the Washington Ora- torio Society, each time with a chorus of more than 100 voices. Applica= tins for membership are being re- ceived by Mr. Kortzenborn at 1145 Connecticut avenue, and at the school immediately before rehearsals on Monday evenings. Choir members and voice pupils are invited to par- ticipate. Singer JUANITA CLAXON, Soprano, who, with Anne Farquhar, cellist, will be heard in a program tomorrow evening at the Roosevelt Hotel. 3 1 - The two Spanish dance artists, Paco Cansino and Senorita Juanita giving a recital Saturday evening, November 7, at the Willard Hotel. Young Leader Directs Symphony Tomorrow Dvorak’s Composition to Be Chief Numb Classics Also I conductor of radio fame, the afternoon program at 4 p.m. tomorrow. Glorifying America er, With Favorite on Program. HE National Symphony Orchestra carries its season of concerts forward this week with two programs in Constitution Hall. guest conductorship of Howard Barlow, talented young American First, under the orchestra gives its second Sunday Then, with Hans Kindler, the orchestra’s conductor, again in charge, the symphony opens its midweek se- ries of concerts at 8:30 p.m. Wed- nesday. Dr. Kindler will present | Guiomar Novaes, the brilliant Bra- | zilian pianist, at this concert in the | featured number, Beethoven’s “Con- certo No. 4,” for piano and orchestra. HOWARD BARLOW makes his | bow to Washington as one of the i youngest conductors in the radio field. He is musical director of the Columbia Broadcasting System. Mr. | Barlow received both 1936 awards given by the Woman's National Radio Committee. One was for the out- standing series in the sustaining program fleld, and the other was for the finest work in the commercial group. The awards are a signal honor, since the committee represents no less than 10,000,000 American club ‘women. Mr. Barlow, who was born in Ohio and has received all his musical edu- cation in the United States, appro- priately selects & symphony about America for this concert, Dvorak's symphony, “From the New World.” Several favorite classics will also be included on the program. The numbers will be given as follows: Romain”__ --Berlios | “Carneval “Petite Suite” R — ~-Stra: Symphonie poem, “Romeo and Juliet, Tschaikowsky C C. CAPPEL, manager of the or- * chestra, has announced that season tickets for the remaining 11 concerts in the Sunday series are available at the season rate. Seats in good locations are also available for the series of eight midweek con- certs that bégins Wednesday night. ‘They may be applied for at the sym- phony box office in the Julius Gar- finckel & Co. store, Fourteenth and T streets, week days, or in Constitu- tion Hall, which will-be open after 11 a.m. tomorrow and after 7 p.m. Wed- nesday. ‘The celebrated Westminster Chorus, under the direction of Dr. John Fin- ley Williamson, will be heard here Tuesday evening, November 10, at R Concert Schedule TOMORROW. National Symphony Orchestra, Howard Barlow, guest conductor, Constitution Hall, 4 p.m. Juanita Claxon, soprano, Anne Farquhar, cellist, recital, Roose- velt Hotel. Lillan Krick, piano recital, 1230 Sixteenth street northwest. MONDAY. Army Band, Army Band Audi- torium, 6 p.m. Marine Band and Symphony Orchestra, Marine Barracks, 4:30 pm. TUESDAY. Lecture, “Thais,” Arturo Pa- palardo, Washington College of Music, 8 p.m. Soldjers’ Home Band Orchestra, 5:30 p.m. WEDNESDAY. National Symphony Orchestra, Dr. Hans Kindler, conductor, Guiomar Novaes, pianist, soloist, Constitution Hall, 8:30 p.m. Marine Band and Symphony Orchestra, Marine Barracks, 3 p.m. and 8 pm. THURSDAY. Lecture, “Form in Music,” Rob- ert Barrow, 1230 Sixteenth street northwest, 8:15 p.m. Maxim Karolik, Henry Gregor, Tatiana Gnoocheff, Mrs. C. Sta: ley Thompson, Lila Zalipsky, soloists, Russian Gala Beneflt, Pierce Hall. Soldiers’ Home Band Orchestra, 5:30 pm. FRIDAY. Lecture, “Milestones in Amer- ican Music,” Dr. Edwin Barnes, Women’s City Club, 5 p.m. Army Band, Army Band Audi- torium, 4:30 p.m. SATURDAY. Soldiers’ Home Band Orchestra, 5:30 p.m. Paco Cansino, Senorita Juanita dance recital, Willard Hotel. Lisa Gardiner will give a talk on “The Ballet from 1660 to the Ballet Russe de Monte Carlo” on Sunday, November 8 at 4:30 o'clock at her studio, 1708 8 street northwest. $ Gifts to Current Attractions Tomorrow afternoon’s pro- gram by the National Sym- phony, at Constitution Hall, will have Howard Barlow as guest conductor, Mazim Karolik, Russian tenor, who makes his first concert appearance here in several years on the musical program to be given at the Russian benefit Thursday eve- ning, at Pierce Hall. Folk Dances By Cansi |Spanish Program to Be Offered at Willard Hotel. Juanita, foremost exponents of Spanish folk and classic dances, will appear in a bril- ning, November 7, in the Willard Hotel ballroom, under the Beren- Brook Artists management. prominently in the ballet productions at the Royal Opera of Madrid up to the present, when he and his charm- In Costume ACO CANSINO and Senorita liant costume recital on Saturday eve- From the days when Paco figured ing partner, Juanita, are considered dance teams, the Cansinos have been prominent in the leading casinos of Europe and the United States, have | been featured in several of the most popular musical revues, and are now active in concert and cinema en- | gagements. Their career includes appearances at the Pantheon Margherita of Genoa and Teatro Barberini of Rome; the Empire Theater of Paris and Coli- seum of London. In the United States they have been featured in Shubert’s “White Lilacs” and the “Greenwich Village Follies.” Concert appearances in New York include the Rafaelo Diaz series at the Waldorf-Astoria and the Rubinstein Club. Recently they were prominent in the big dance-hit pic- ture, “The Dancing Pirate.” Their program is as follows, includ- ing as piano soloist, Senor Fernando Albenis n; Fandanguillo_._. Cape Dance. - Azasra F. Font Portuguese Dance E. Fons - Granados nE0. Provincial Airs . Moskowski Players. Ferna: Rapsodia Valenciai ‘Tambourine Danct - Paco and Juanita. Intermission. Porque te vl’a, el Claveles Rojos. Tango-Zambra Lecuons. obtained at the Homer L. Kitt Co., 1330 G street northwest. To Talk on Music Form. ROmT BARROW, B. A, Mus. M., organist and choirmaster of Washington Cathedral, will give two informal lectures on “Form in Music,” on Thursday evenings, November § and 19, at 8:15, at the studios, 1230 Sixteenth street northwest. The first lecture will deal with the three-part form, rondo form, the fugue and the passacaglia. The second wilk be concerned entirely With sonata form. Mr. Barrow will present & number of original illustrations in connection with his remarks, and will speak in non-technical terms readily understandable to_laymen as well as musicians. Admisison will be by card anly, which may be obtained free of charge at studios. ‘. " among the few authentic Spanish | Tickets for this concert may be| Dr. Kindler, Wednesday, Offers Clever Pianist Part of Symphony Con cert to Have Romantic Vein, With Schumann Composition as Melodic Central Offering. By Hans Kindler, Director. HE return of Guiomar Novaes in the role of soloist with the National Symphony, Wednesday night, brings Washington music lovers a long anticipated occasion. This cha rming Brazilian is remembered as one of the most brilliant woman pianists ever heard here, and this is her first appearance here in more than two years. — . ;a3 in G Major for Piano | be as follows: Overture Euryanthe ___ ____ __ Weber. Symphony No 4 in D Minor, - Schumann Concerto N & Beethoven Introduction to Att 3 Fe o Fal koczy March Berlioz For the opening concert of the eve- | ning series of the National Symphony Orchestra we have kept the first half of the program in the romantic vein. ‘The “Euryanthe” overture by Weber is the very embodiment of the spirit of romanticism which swept over Europe in the early part of the nine- teenth century. EETHOVEN, the first great demo- crat in music, had broken the shackles which music had worn with much grace but which were neverthe- less preventing its human liberation, the essential spirit of the revolution of 1793. Beethoven had sounded the tocsin. although for a long time after- ward, especially in the period of his maturity, he himself was apt to re- turn to a formalism which was not always imbued with the inspiration necessary to make us forget the limi- tations of its exterior aspects. It was in his great works only (of which the piano concerto on this program is a conspicuous example) that he success- fully combined inspiration, formal sim- plicity and formal perfection which, in their combination, gave as the high- est result, a spiritual exaltation of the noblest kind. Although, as I say, it was Beethoven who first broke the shackles of the conventional form, it remained for Weber not only to “break through,” but to offer to music the fruits of this freedom which were so essen- tially romantic. mony, and, more than all, his genius for instrumentation gave music and its composers an impetus which sent it deeply into the romantic spirit of the times. More than “Freischutz” and “Ober- on” even, is “Euryanthe” representative of this spirit. I would like to empha- size to the listener the middle section | of this overture, the eerie strains in the fiddles (significant of the appearance of Emma, a ghostly figure in the opera) followed by the mysterious fugal movement, then the return to the main theme and the recapitula- tion of the second theme of “O Selig- keit ich fasz dich kaum,” g0 warm, so luscious and vital, and overwhelming in the forceful loveliness, that it | rightfully belongs among the im- mortal melodies of all times. ‘SCHUMANN'S symphony is the op- posite of this external and bril- liant romanticism of Weber. It is ro- mantic, too, but in a more introspec- tive, I should nearly say, in a more German way, It is the romanticism of the literary artists of the day, a | continual soaring upward from initial moods of unhappiness—which was the | | typical quality of Novalls and Tieck | and Jean Paul Richter, all of whom | had been inspired by Goethe's early work, “Leider des Junger Werthen."” | The symphony, then, has a somber | | intensity in its slow introduction, a brooding quality which leads into the allegro, full of struggle between its minor main there and its romanite, yearning second subject, as well as in the darkness of its orchestral coloring. {It is a contrast of “himmel hoch jauchzend, zum Tode betrubt” (heav- ‘enly happiness and depths of despair) of the “Sturm und Drang” period. | The slow movement is typical Schu- | mann in its lovely melodic line, the Schumann of the piano and chamber music works, and especially of the superb lieder. The second part of this | movement is based on the melody of | the introduction, nearly peasant-like. The scherzo is full of manly vigor | and strength, the trio in the scherzo resembling a German “Landler.” After | another return to the introduction of the first movement, the finale starts with a rhythmic figure which has a strong affinity to that of the last move- ment of Beethoven’s “Fifth.” In con- trast to the other movements, the finale is joyous, yes, even triumphant in its spirit, with its lyrically soaring counter theme, ending the symphony (which | is played without the usual interrup- tions) in happy major fashion. Because of the uninterrupted the- matic relations kept throughout these | four movements, I venture for once | into a short technical exposition of | the work: The introductory figure of out, in the andante and again in the | trio of the scherzo. A phrase derived | from the main theme in the develop- ment section of the first movement be- comes the principal motive in the last movement, thus taking the place, as it were, of a recapitulation which is absent in the first movement. HE Beethoven “Concerto No. 4" | for piano and orchestra, will be played by the great South American pianist, Guiomar Novaes. In asking Mme. Novaes to play this work, I had in mind the presentation of Bee- thoven's three greatest works for piano and orchestra. The two other con- certos (Nos. 3 and 5) will be played by Harold Bauer and Myra Hess, respec- tively, thus giving a full view of this r: | important part of Beethoven's creative achievement. Of these three concertos, the one of this concert is undoubtedly the most poetic, the third the more classic and | the fifth, the so-called “Emperor Con- certo,” the more romantic. In the| slow movement of the work Beethoven reaches those spiritual elevations which are his more than any other composer’s, the dialogue between piano and orchestra taking us to the heights of musical regions. D'mDY is one of those composers, who, although undoubtedly hav- ing value of their own, are more identified with another movement—in | this case the post-Wagner, post- | PFranckian movement. The fate of | these composers is rather tragic, as it is only those who create a new idiom who draw the attention of the public irresistibly to them, if not immediate- ly, then anyhow eventually. It has always been like this and probably ale ways will be, but it is well to draw at- tention to at least the more significant d'Indy | His melody, his har- | the first movement (which is without | a recapitulation) recurs, as I pointed | The program Wednesday will of these “followers” of the greatest geniuses, and among these D'Indy takes a prominent place. The prelude to his opera “Fervaal” is very Franckian in spirit—I would say, a Franck with a nearly German trend, this probably is due to Wagner« ian influences as well. It is a short and noble piece of music, and it gives me pleasure to present it, probably for the first time, in Washington. ANOTHER Frenchman, Berlioz, will finish the program with his Rakoczy march from the “Damnation of Faust.” It was while in Budapest on a guest conducting tour that his “Damnation of Faust” was performed. | It was suggested to the composer that it might be a good thing if, in one of his concerts, Berlioz would perform a composition on popular national Hun- garian melodies. But, of course, Faust has nothing whatsoever to do with Hungarians. Nothing daunted, how= ever, the resourceful composer intere poiated a short scene in which he made Faust witness from a hilltop the pass- ing of a Hungarian army, and wrote the march as an accompaniment. As it happened, it proved to be the most popular piece on the program. Berlioz’ description of its reception makes excellent reading. It seems that he had to repeat it a number of times at the initial concert and that in every subsequent concert the piece was re« demanded. It is, of course, a stirring work, and when we think of the hot-blooded Hungarians who at the time felt griev- ously oppressed, one can easily imagine the scenes of frenetic enthusiasm its blazing climaxes must have unleashed. We have the original incentive. It retains its effectiveness to this day, |and conductors especially are the | richer for its possibilities and oppore tunities, . | Recital by Miss McGraw. ELEN McGRAW, young American pianist, will be heard in concert at the Willard Hotel on the evening | of Wednesday, November 18. ‘ As a pupil of Alexander Sklarevski, | noted Russian pianist-teacher, at the Peabody Conservatory of Music, Bale | timore, Md., Miss McGraw received |in 1930 the Artists’ Diploma, the highest degree awarded at that school. She first gained nation-wide attene tion during the same year when. come peting with musicians from all over the country, she won the Walter W, Naumburg Foundation Music Contest, which entitled her to a debut in New York’s Town Hall. Tickets are on sale at the Homer Kitt Co. and at the Willard Hotel. Program of Chinese Music. DA HOYT CHAMBERLAIN, come poser, pianist and soprano, will | give a lecture-recital in costume at the clubhouse of the American Ase- sociation of University Women Mone day afternoon, November, at 4:45 o'clock. She will present excerpts from her composition, “The Nevere Ending Wrong,” a series of tone pice tures based on Chinese music cole | lected during her five years of resie | dence in the Orient. . Fifth in Lecture Series. “7THE Song Writers of the Period of Artistic Summits” will be discussed in Dr. Barnes’ fifth lecture recital on “Milestones in American Music,” at the Women's City Club, 736 Jackson place, Friday, November 6,at 5 o'clock. Mrs. Joseph Robichaux, a soprano new to Capital audiences, will sing the songs of Beach, Chade wick, Foote and Rogers, and there will be baritone solos from the works of Homer Norris, Wilson G. Smith and Burleigh. e Celebrity Feast Music. HYLLIS FERGUS HOYT, the first | woman composer ever to hold the position of national president of the League of American Pen Women, will preside over the first celebrity breakfast this year on Saturday, No- vember 7. Geoffrey O'Hara, distine guished writer of songs and operettas, will be toastmaster. Evelyn Ewart, soprano, of Chicago, and Lee Pattie son, hoted pianist, will be guests at the speaker's table who will give solo | numbers on the program. Miss Ewart will sing, among several nume bers,"Mr. O'Hara's “I Love a Little Cottage,” which was the signature song of the National Education Assoe ciation for two years on the air and also was a popular selection on the programs by the band of the late John Philip Sousa. Warren F. Johnson, Organist Church of the Pilgrims Sunday Evening Brackner Jongen WILD ny Ruth Marie Gardner Pupil of late Herbert Witherspoon Director of Metropolitan Opera Ce. VOICE INSTRUCTOR of Chicago Musical College G St NW. ard Fleer, Grand Opera Dramatic Tenor Voice Specialist Italian Method ‘ Scool of bel canto. Dist. 1403 732 11th St. N.W. * T e NS NP5 DACAE X' [ 3 "Ho lEY | 1 [~ B