Evening Star Newspaper, December 12, 1936, Page 20

B—4 i THE EVENING STAR, WASHINGTON, D. C, SATURDAY, DECEMBER 12, 1936. < German National Opera Is Monument to Weber "Americans Who Honor His Memory As Genius of Former Period Are Reminded of Country’s Need at Present Time, By Alice Eversman. man who did for his fatherland what no one in America has had all musicians in this country are honoring the memory of Carl Marie von Weber this week they are giving homage to the the courage to do, that is, provide a national opera for his coun- fry. The situation which Weber encountered when he was given the post of capellmeister at the German opera in Dresden was similar to that which exists in this country today, yet by $—mmmM8M his perseverance and insistence he was ‘ able to bring about the change which, in its ultimate development, has bene- | fited the entire world. In the cele- | brations that will mark his birth an- | niversary, his genius, his personality | and the influence that he exerted on | musical art will all be remembered. | Were he living today one could well | imagine that he would council his | American admirers to think less of | these qualities of his, great as they were, and concentrate on learning, from the example he set, how to solve the operatic problem in our midst. In a newspaper article addressed to | the Dresden public at the beginning of his undertaking, he said: “The | Italians and the French have fash- foned for themselves a distinct form of opera, with a framework which al- lows them to move with ease and freedom. Not so the Germans. Eager in the pursuit of knowledge and con- stantly yearning after progress, they endeavor to appropriate anything which they see to be good in others.” He wrote to arouse the sympathy of the public of a century ago, but his words are applicable to a like situation in this country. WEBER was tired of the influence % of the Italians in the operatic fleld, tired of singers who could not speak the national language and tired of the snobbery of the Germans who felt that native artists were not com- parable to any one from a foreign | country. He knew also that it was not only providing excellent soloists that was important, but in having an ensemble of German singers. Only by having the entire troupe made up of national musicians could he hope to awaken and sustain interest in German opera. Is not the same true in this country? Against all odds he succeeded in putting over his ideas and winning and holding the respect of the court, the townspeople and the members of his organization. He supervised every | detail connected with the formation of the opera, searched the country for | good singers, reorganized the or- chestra and assembled an adequate chorus, finally giving Dresden its own | German opera, which to this day ranks among the best in the world. N A study of Weber's life, one: cannot but be impressed with the | immense amount of courage Which he showed from his earliest years. In| spite of the gypsy-like life which he lived when his father was still hale and hearty, the lack of belief in his talent by an older brother intrusted ‘with part of his musical education, the | as fresh today as when they were first | satisfactory outlook to turn from interrupted periods of study, his own | Bohemian tendencies, and the easy success in social circles, he kept true | to his ideals. He sought for the high- | est in art and, later, for his own| spiritual development. His devotion | to his family, his firmness in fighting * In Local Music Circles RANK OSTEEN, baritone, teach- | er of singing, gave a lecture, | vocally illustrated, on “The | Voice” at his studios, 1712 Con- | necticut avenue, on Tuesday. At the close of the lecture Mr. Osteen pre- | sented his artist pupil, Eileen Osteen, | soprano, in three selections. Mr. Os- | teen will give a series of three lec- | tures in January, dates to be an- | nounced later, on “The Fundamentals | of Vocal Development.” These lec- tures will be free to vocally interest= ed people, but admission is by card, which may be secured at the studio. | Mercedes Giron, coloratura soprano, | will be heard tomorrow evening at 9:30 o'clock, at the Roosevelt Hotel, where | she will give a concert. Also on the | program is Helen Spasnoff, who will render several selections on the piano. Elena de Sayn, violinist, announces that auditions and tests for the re- maining part scholarship for an ad- vanced student and one for a be- ginner will take place Saturday, De- eember 19. J. T. Lowe, violinist, was awarded a part scholarship during the tests conducted last month. Applica- tions should be sent to Elena de Sayn, 1026 Fifteenth street. ‘Thelma Callahan, recently elected president of the Piano Teachers’ Fo- rum, announces Marion Wilcox Coomes as guest artist for the meet- ing Thursday morning. Mrs. Coomes has studied under Leschetizky in Vienna and Harold Bauer in New York City. She will give a brief talk on the “Teachers’ Problems” and will illustrate her talk by playing several selections, both classic and modern. The meeting will be held in the Salle de Recital, 1325 G street, at 10:45 am. All piano teachers interested are cordially in- vited to attend. ‘The program for the music hour fomorrow at the Y. W. C. A. will be given by the Girls’ Chapel Choir of the National City Christian Church, under the direction of Helen Turley. A Christmas program is given at the 'Y annually by Mrs. Turley’s choir and tomorrow’s program is entitled, “The Christmas Rose.” Betty Baum, pianist and teacher, will present Selma Schwartz at a re- for perfection in the every detail con- nected with the performance of music and his courage in carrying on, even when he knew the hand of death was upon him, emphasize elements in his character not often outstanding in his time. Weber's personality was a romantic one, and it was not difficult for him to win popularity. In the theater world, he was beloved for his good fellowship, his social graces, and the delightful entertainment he provided with his guitar made him welcome in more exclusive circles. His great pianistic talent won him fame everywhere, and put him in the rank of the celebrated artists of the day. And finally, his genius at composition has made him | immortal. ! It seemed that life conspired to fit him for his operatic destiny. His early experiences behind the scenes of the theater, as it was then, was a thor- ough education, and by the time he was called to a directorship, he was ready to progress from this standpoint to something better. Association with various classes of people had given him | a broad outlook, while his gypsy wan- | derings had kept his imagination active. At the same time, he had learned the lessons of industry and orderliness, self-control and concen- tration. LL these elements color the two | great operas which have never lost popularity, “Der Freischutz” and | “Oberon.” The ingeniousness of his | ideas, the beautiful expressiveness of | his music, and the profoundness of his dramatic feeling are combined in the unforgettable melodies that are presented. In this era, the time is ripe for a talented and courageous character such as Weber's. We need some one who, knowing his metier, will be ener- | getic in throwing off the shackles of | foreign opera, and in forming one | where Americans can “move with ease and freedom.” Wagner, in concluding | his description of the ceremonies con- nected with the removal of Weber’s ashes from London to Dresden in 1844 (he was president of the committee on arrangements), says: “From all the particulars I have given concerning my intimacy with the great masters who were my contemporaries, it i- easy to see at what sources I had been able to quench my thirst for intellec- tual intercourse. It was not a very Weber’s grave to his living successors; | but I had still to find ouat how abso- | lutely hopeless this was.” | What Weber and Wagner have done for German opera is history. Is there an American who, after figuratively turning “from Weber’s grave” this | week, cannot overcome his hopeless- ness as Wagner did, and help our native art and artists to come into their own? and no reserved seats and all are cordially invited to attend. Gilbert Linville, tenor pupil of Charlotte Lippiti until last Winter, when he entered Juilliard, is now with the Metropolitan Opera Co. He was also successful in entering St. Bar- tholomew’s choir. Margaret Stafford, a member of the Rubinstein Club, gave a program of | songs at the Home of the Incurables, Thursday evening. At the meeting of the Washington section of the National Council of | Jewish Women held Tuesday after- noon, December 8, in the Jewish Community Center, Bernice Millman, lyric soprano, was the soloist. Eloise Bieber, a member of the Philharmonic Harp Quartet of New York, was guest artist at the Christ- mas meeting of the Women's Society of the Takoma Park Presbyterian Church Wednesday morning. The cantata “The Christ Child,” by Hawley, will be given tomorrow eve- ning at 8 o'clock by the choir of the Sixth Presbyterian Church, Six- teenth and Kennedy streets north- west, under the direction of Muriel Day. The soloists are Gladys Marks, Hazel Johnson, Richard Fairman and Edward Carey. the can- tata, Mrs. Day will play a short pro- gram of Christmas musie, including the carols on the chimes. The meeting of the German Liter- ary Society on Saturday, December 19, will be in commemoration of the 150th anniversary of the birth of Carl Marie von Weber. Anita Schade, president of the society, will talk on “Wagner at the Grave of Weber,” and Henry Gregor will lecture on ‘Weber’s life and works with piano il- lustrations. A vocal group will be given by Norma Simonson, accom- panied by Dorothy Radde Emery. has recently moved to Washing- ton from New York City, is opening a home studio for voice and piano at 1501 Colonial terrace, in Arlington, near the Key Bridge, She will be re- membered as prima donna for the celebrated Duncan Sisters version of “Topsy and Eva,” as vocal zoloist last United States Navy Nation-wide hook-up of the National Broadcasting Co. Artists of the Week’s Concerts Soloists to! Appear With Symphony Music for Concerts Includes Glee Clubs, Pianist, Singer. | AROLD BAUER, celebrated pianist; | Lotte Lehmann, the leading]| soprano of the Metropolitan Opera Company, and the combined glee clubs | of George Washington University join the National Symphony as guest ar- tists 1 pre-holiday concerts, to be given in Constitution Hall next week. | Back from 1its Northern tour, in| which Hans Kindler, conductor, and the orchestra men played 11 concerts | in several New England States and in New York and Pennsylvania, the symphony resumes its Sunday after- noon concerts tomorrow with a pro=- gram devoted entirely to the works of Ludwig von Beethoven. Mr. Bauer will be the soloist in a performance | of the German composer's “Third | Piano Concerto in C Minor,” and will | also participate in Dr. Kindler’s | presentation of the “Choral Fantasy,” in which the George Washington Uni- versity singers will perform the choral part. Mme. Lehmann, whom the con-| ductor, Arturo Toscanini, considers the | world’s outstanding soprano today, will be the orchestra’s soloist in the midweek concert at 4:45 p.m. Wed- nesday, in Constitution Hall. This captivating artist will sing an aria from one of her famous Wagnerian | roles, and will also appear in a group | of songs by Richard Strauss. | Dr. Kindler has announced complete | programs for these concerts as fol- | lows: { ‘Tomorrow at 4 pm. All-Beethoven program. verture, “Coriolanus.” 9&’71’)0&[” No. 3. in C Miner,” for piano and “orenestra. Allegro con brio. Largo. Rondo: Allegro. Harold Bauer. Overture, “Egmont.” Choral fantasy. Harold Bauer. Combined Glee Clubs of George Washing- ton University. Wednesday, 4:45 p.m. Al Alie: Wiey Ca Troo Trisan ed ude T ‘Vorspiel lnfllg{auit::h“. Being Viennese, as is Strauss, Mme. Lehmann brings to his songs an un- derstanding spirit and a volatile heart. The three songs of his included on program are among The second half of the program will be all Wagner, and all the music will be from the opers “Tristan and Isolde.” Before presenting Mme. Leh- mann in the “Vorspiel and Liebestod.” Or. Kindler will conduct the Prelude to Act IIL HAWLEY CANTATA .TO BE PRESENTED National Capital Choir, under the direction of Albert W Harned, Mus. Doc., announces the singing of Charles Hawley’s cantata, “The Christ Child,” at the Universalist Na- tional Memorial Church on Sunday, December 20, at 4:30 pan. This cantata was published in 1013 and sung the following Christmastide by an unusually large number of the larger church choirs throughout the country, including the old Broadway Tabernacle, New York, where Hawley was and choirmaster, and the Ohurch of the Ascension, Wash- ington, where Dr. Harned held s like position. Choir to Give “Messiah” 1 regarding Christmas music in the churches intended for publication in the lg:cm page to appear on Satur. day, December 19, must be received by the Music Editor not later than Monday, December . 14, and must be typewritten. & At left are the two noted soloists to appear with the National Symphony Orchestra this week. Above is Lotte Lehmann, Metropolitan Opera soprano, who will be heard on the Wednes- day afternoon program at Constitution Hall, and below, Harold Bauer, celebrated pianist, taking part in the All-Beethoven pro- gram tomorrow afternoon. At right, above, is Dr. William Churchill Hammond, director of the Mount Holyoke College Carol Choir, giving its first concert since 1926, next Saturday evening in the Press Club auditorium. Below, Vera Covert, soprano, who will sing several arias following the dinner to be given in honor of Dr. Hans Kindler Monday at the Mayflower Hotel, Organ Music In Program At Howard Catholic University Musician Holds Many Honors. 'HE second recital of the Howard University concert series will be given Tuesday evening at 8:30 o'clock by Conrad Bernier, organist at the Shrine of the Immaculate Conception, Catholic University. Mr. Bernier began his musical studies under his father, J. Arthur Bernier, organist of Quebec, Canada. He received the laureate and gold medal of the Quebec Academy of Music (1919). In 1923 Mr. Bernier won a three-year scholarship awarded by the Canadian Government, and went to Paris, where he studied organ under Joseph Bonnet, piano with Silva Herard and Simon Ple, and compo- sition with Georges Caussade of the National Conservatory of Music. He acted as substitute of Joseph Bonnet at the Church of St. Eustache in Paris and became well known for his Sunday recitals at this church. The program is as follows: Voluntary C) egro ur nee! - aglia et Tema Nnum..l.ag‘_?sm Sketch n P Minor--eeeec--R. Schumann Cheral in B miner - —ceeeea-- Variations (Pitth Symphony) Pl it Bymphony) MISS COVERT SOLO SINGER AT DINNER WERA COVERT, soprano, who will sing following the dinner to Dr. Hans Kindler, conductor of the Nae Monday -L." Vierne | Episcopal Gives Choral Christmas Selections Society to Conclude Program Friday With Oratorio. 'HE Washington Choral Society will present its annual Christmas candlelight carol service at Epiphany Church, 1317 G street northwest at 4:45 pm. on Friday, under the direction of Louis Potter. The chorus, composed of 80 picked | .3, ™ voices, will be accompanied by Lyman McCrary and soloists will be Helen Loman Ware, contralto, choir of the Church of the Mediator Raymond Baine, tenor, from Epiph- any Choir, and Howard Samsel, bass, from the Concordia Lutheran Choir. At 4:30 there will be a recital of chimes and organ by Adolph Torov- sky, and st 4:45 the choral concert will be ushered in with the old carols, “Silent Night,” “It Came Upon a Mid- night Clear” and “The First Noel.” ‘The opening group of familiar songs will be followed by ‘“Hodie Ohristus Natus Est” for double chorus, com- posed by Palestrina, the celebrated master of the sixteenth century, and Praetorious’ “Lo, How a Rose Eer Blooming,” sung by men’s voices alone. ‘The first performance of “Land for Christmas,” written By Washington's composer, Mary Howe, will be given, and “All My Heart This Night Re- joices” by the late Frederick Maxson, well-known chorister and organist of of the program to a close. The second half of the service will be Bach’s “Christmas Oratorio,” which the chorus and soloists will sing with Cure” and “Rejoice and Sing.” As in previous seasons, this lovely concert is a Christmas gift to the city and no admission will be charged. CAROLS INCLUDED WITH FOLK SONGS Tuesday Evening Music Club, .~ Florence Howard director, will present its annual program of Christ- mas music at the University Club on evening at 8:30. This will be i § | | § ! 1 8 ! £ | MY i g H EE ) | £t E?EE E : i of it 2k i ] g £ ] : ; : 1 £ l 1 | I ! i E. i ; it i i £ ¢ ] i from the|, 'Mt. Holyoke Choir to Be Heard Here Only Concert South of | New York to Be Local Event. ‘EAR.LY folk songs and folk music will be heard on Saturday, De- cember 19, when the Mount Holyoke College Carol Choir, consisting of 100 voices, under the direction of Dr. William Churchill Hammond, will give its only concert south of New | York City in the Press Building Au- ditorium at 8:45 p.m. This concert will mark the choir's | first appearance in this city since | 1926. A limited number of concerts | is given during the holiday season | each year away from the campus, | usually including one in Town Hall in New York and one in either Bos- |ton or Philadelphia. This year, in mand, Dr. Hammond selected Wash- ington for the final carol concert of the season. This event will have a particular significance to those who already are familiar with Dr. Hammond's | work and with the reputation de- veloped by the choir under his able musicianship, because it will be Dr. | Hammond's final appearance as di- | rector of the choir, which he founded | and led for so many successful years. | He plans to retire from its active | leagership this coming June. The program given here includes carols of many countries and many | centuries. - Bach derien ! Pastorale ___ _ | March of the Masi_ { a Lovely “Bring a Torch. Jeanette. Isabel Prench Karg-Elert _Russian Sioux Tribal Hungarian Night" g mundson | “Noel! Alleluia”_____ ~""~ ther Finn “God Give Ye Merry Christmas-tide " John J. Bishon | The concert is given under the sponsorship of the Washington Mount Holyoke Alumnae Club. Proceeds from the sale of tickets will be in- cluded in a special gift to the scholar- ship fund to be made early in 1937 on the occasion of the 100th anni- versary of the founding of the col- lege. Tickets may be ordered by mail from Eleanor Neill, 1820 Massachu- setts avenue northwest or may be ob- tained at Mrs. Dorsey’s Concert Bu- reau in Droop's Music Store. Pastorale ____ LOVETTE CHORAL CLUB'S PROGRAM sent on Monday “A Midwinter Epiosde” in the club room of .the D. C. League of American Pen Wom- en, Grafton Hotel. Prancise Bass Wilson will be narrator of the eve- ning. Roscoe King, violinist, will be the assisting artist, accompanied by Esther C. King. A sextet from the club, composed of Nellie Barber Brooks, Hazel M. Cake, Marietta Brumbaugh, Clydis Mae Richardson, Emily Tennyson and Fay Bruce Swenson will sing several traditional airs and “In- flammatus et Accensus,” by Rossini. Nell Duree Norris will appear in “O the Shepherds in Judea,” a dramatic reading by James H. Rogers, and Carolyn Schulte will render a piano selection. Following the program, the Choral Club and the audience, led by the director, Eva Whitford Lovette, will sing “Silent Night, Holy Night.” Elsie Cramner, the club accom- panist, will be at the piano. PROGRAM HONORS CARL VON WEBER response to an especially urgent de- 22¢ | Philadelphia, will bring the first part| '] HE Lovette Choral Club will pre- | SYMPHONY GIVES IMPORTANT PRE-HOLIDAY CONCERTS Tomorrow’s Program Of National Symphony Orchestra at Constitution Hall at 4 O’Clock to Be Assisted by G. W. U. Glee Clubs, Under Dr. Harmon, * By Dr. Hans Kindler. Beethoven the human element in music appeared for the first time as the factor of the principal purely or mainly formal quality his immediate predecessors had considered as most important. And immediately the question raises itself: Was this a gain for art? Is the final purpose of music to be human rather than purely and principally & matter of beauty of sound and of form? Beethoven’s heart was great and pure and deep-feeling, and it beat in sympathy with humanity’s hardships and its sorrows. This, however, is first of all a matter of human tendencies, of the human soul. The artist Beethoven had to create forms, and his proverbial wrestling and struggling may well have been nothing else but the at- tempts to put his human (that is, sometimes non-musical) experiences in in this, and that constitutes part of his greatness. Beethoven’s ideals were the ideals of the best ones of all times and zones, and which our world of today, alas, has too often trod under foot. His was | the desire for freedom, for redemption of human failings and weakness through love, for the fraternity among peoples and nations. Liberty, equality. | fraternity. Beethoven is a direct result }1n art of 1793. He is the first great | democrat in music. He wanted music to be serious, and life to be happy and beautiful, and this makes his work | often full of rebellion and anger, be- | cause life, alas, is not h:ppy and beau- | tiful. With fine longing for this reali- zation, he again and again starts from the premises of suffering, angry and rebellious: “Non per portas, per muros, per muros”; “musz es sein, es musz | sein”; “Oh, friends, not these tones!” etc. .SOMEI'IMES when we look at his work from a purely artistic stand- point we are slightly disappointed, and ' even a bit bored by this eternal pride, by this constant desire to resolve misery into joy—often with a hard-headed- | ness which makes us believe that al- | though the heart was “in the right | place,” the head, sometimes, does not | seem correspondingly disciplined. This may sound like heresy, because since a hundred years any argument about Beethoven is considered a heresy. But | it may be well at times to approach even one as great as Beethoven in | a spirit of respectful criticism if only | 50 as to succeed in a more conscious | admiration of his greatness. | We then begin to understand | | Goethe’s objections to some of Bee- thoven's work, objections which are ,often mentioned to Goethe's dis- paragament, and which, especially if | we consider Goethe's amazing under- | standing of such men as Mozart, and | of Goethe's greatness in general, should on the contrary make us pause | and think. Of course we must not forget on the other hand that Goethe | judged Beethoven only from those works which he heard. It is doubt- ful whether this knowledge included Beethoven's greatest works, the ones | which he wrote towards the end of | his life, especially the last of his piano | sonatas, the D major cello-sonata, | and the string quartets of the final | period. In those Beethoven achieved a spiritual release such as few artists | have been able to accomplish. For in these he succeeded in purifying and resolving his human problems in the flame of his art. and by ac- | complishing this he approached di- | vinity. He combines here the great- | ness of Bach at his best with the added quality of a purely human element, transfigured until his utter- | ings become of a superhuman, non- | material, liberated quality, so power- 'ful. so irresistible in their poignancy that they evoke in any sensitive listen- | er a reverent reaction, an undying gratitude for having been allowed to | | listen to these utterances of the very | greatest of all our creators. | IN DIFFERENT other ways some | | of Beethoven's predecessors had | been greater, although this has been | denied by the too fervent adulators | | of his undoubted eminence. Today, from a point of ‘view further removed, we can without fear of immediate | damnation conclude that Bach's har- | mony, for instance, is bolder and | richer, that Mozart’s orchestra is | more transparent, that Haydn's quar- | tet form is purer. Beethoven's very | greatness, his intensity, his “furor | Teutonicus” made him often grasp | beyond that which even the gifts of | genius could achieve. | But when we have said this, when we are all through weighing and measuring, there is still one quality in his work which ever and again sweeps away all arguments, and this is the quality for which he deserves to be regarded, even with his faults, as the giant he remains. That qual- ity was his constant and fanatic sin- cerity. For his humanity and for his sincerity, which showed constantly in every possible instance, does he take the place which not only the artists, but the whole of humanity has given him, and before which any human being worthy of the name will always reverently bow the knee. The concert of tomorrow will con- tain, first, the deeply mbving “Cerio~ lanus Overture”—the second theme of which, expressing as it does the love| of Coriolanus for his mother, is un- doubtedly one of Beethoven's greatest melodic inspirations, especially in its contrast to the stern and harsh char- acter of the main Coriolanus theme. The brooding pianissimo ending after the superb development of the over- ture puts the stamp of Beethoven's genius on the work as nothing else could. ‘The third piano concerto, once a great favorite, has in the course of time given way to the fourth snd the it in du:rved popularity. musical form. However, he succeeded | and Bauer, Pianist. fore requires no special furthe: explanation. THI “Choral Fantasy” is to my min{ a definite preparation for th “Ninth S8ymphony.” Not only the us of a chorus in conjunction with the orchestra, but the very melodic lines are directly comparable to those o the great “Ninth.” The melody of the very first line of the text is exactly like the first choral melody of the “Freude schoener Goetterfunken,” only in reversed form. The whole work seems also to be a fantasy which has as its underlying idea its eventua resolution in an “Ode to Joy.” In | several other instances Beethoven | made what can be considered very elaborate sketches for still greater tone poems which follow subsequently | For instance, the fugue of the “Sonats | for Cello (Opus 102)” is definitely s | preparation fo. the gigantic work ir | the same form which constitutes the | last movement of the Hammer Klavies “Sonata (Opus 106).” As I have said, the same holds good |of the “Choral Fantasy” in relatior | to the “Ninth Symphony,” and I hope it will therefore be of special interesi to those among the musical cognos* cente who may want to approach i with this in mind. To the public al large I think it will be a first per: formance in Washington of this work R GORDON QUARTET IN TWO CONCERTS Two concerts by the Gordon String Quartet, Jacques Gordon and Da- vid Sackson, violins; William Lincer, viola, and Naoum Benditsky, cello, will be given at the Library of Congress | under the “Gertrude Clarke Whittali Foundation” next week. The musi- cians will use the famous quartet of Stradivari instruments donated by Mrs. Whittall and Frank Sheridan pianist, will be the assisting artist. On Weanesday, at 8:45 pm. the quartet will play Brahms' “Quartet in C minor, op. 51, No. 1," “Sonata in D minor, op. 108.” for violin and piano and the “Quintet in F minor, op. 34,* for strings and piano. On Prid; at 3:30 o'clock, the program will be Beethoven's “Quartet in C, op. 59, No 3,” Brahms' “Sonata in F, op. 99, fot cello and piano, and Schumann's “Quintet in E flat, op, 44 " Tickets may be obtained by writing the Music Division in the Library, in. closing a stamped, self-addressed en- velope for return. PO The December meeting of the Co- lumbia Music Club (Mildred Picklin Echols, teacher and counsellor), was held on Wednesday at the home o Marie Main, Columbia Pike, Arling- ton, Va. Concert Schedule Tomorrow. National Symphony Orchestra, Dr. Hans Kindler, conductor; soloist, Harold Bauer, all- Beethoven program, Constitution Hall, 4 pm. Girls' Chapel Choir, National City Christian Church, “The Christmas Rose,” Y. M. C. A, § recital, Deane Shure, Vernon Place M. E. Church South. Monday. Lovette Choral Club, “Mid- winter Episode,” Prancise Bass Wilson, Roscoe King, violinist, soloists, Grafton Hotel. Navy Band, “Hour of Memories” program, 2 p.m. Marine Band, 4:30 p.m Lecture, Edwin Hughes, “Tech- nique of Interpretation at the Piano,” Washington College of Music. Army Band, 6 pm. Tuesday. Organ recital, Conrad Bernier, Howard University, 8:30 p.m. Navy Band Symphony Orches- tra, sail loft, Navy Yard, 8 pm. Marine Band, 3 p.m. Soldiers’ Home Band Orchestra, 5:30 p.m. ‘Wednesday. National Symphony Orchestra, Dr. Hans Kindler, conductor; soloist, Lotte Lehmann, soprano, 4:45 pm Gordon String Quartet, Library of Congress, 8:45 p.m. Marine Band Orchestra, Ma- rine Barracks, 8 p.m Thursday. Soldiers’ Home Band Orchestra, 5:30 p.m. Friday, Washington Choral - Society, Louis Potter, conductor; Christ- mas candlelight carol service, Epiphany Church, 4:45 pm. Tuesday Evening Music Club, Florence Howard, director; Evelyn Scott, assisting artist, University Club, 8:30 pm. Gordon String Quartet, Library of Congress, 3:30 p.m. Friday Morning Music Ciub, Weber program, soloists, Elsa Joern, Grete von Bayer, Helen Grimes, Anita Schade, Barker Hall, Y. W. C. A, 11:30 am. Army Band, 4:30 p.m. Saturday, Mount Holyoke College Carol Choir, Dr. William Churchill Hammond, director, Press Build- ing Auditorium, 8:45 p.m. Soldiers' Home Band Orchestra, 5:30 p.m. Armando Jannuzzi Grand Opera Dramatic Tenor Voice Specialist Italian Method Schoo! of bel canto. Dist. 1403 _ L 3 nu;'..%':bz' n'-:.!f‘o PM.