Evening Star Newspaper, January 25, 1942, Page 61

E-6 ART AND MUSIC. Murals by Brazilian Artist - At Library of Congress Art Project Sponsored by Two Governments as Good Will Token On View in Hispanic Division” \ By Leila For the past fortnight paintings and prints by artists of Latin Amer- ica have held first place in the fleld of contemporary art in Wash- ington. On the afternoon of January 12, in the Hispanic Division of the Li- brary of Congress, were ceremoni- ously dedicated, before a distin- guished, invited audience, four mu- ral paintings, done in fresco on dry plaster, by Candido Portinari of Bra- =i, a project sponsored by the Bra- zillan and United States Govern- ments, as a further token of mutual will, good 5 ‘The subjects of these paintings, which entirely cover the walls of the small rooms opening out of the hall and into the reading room, are, briefly (1), “The Discovery of the Land,” (2) “Pioneer Conquest of the Mechlin. Later he traveled abroad under a fellowship granted by the State. His native language is Portuguese, not Spanish, and of Hispanic influence little is to be found in his work. That he was influenced by the art of the French modernists there can be no doubt, but this influence he translated in accordance with his own original viewpoint. Upon his return from Europe, it was the life of those he knew best—those of the working classes—that he chose for interpretation. This was a wise step and brought him attention. He was commis- sioned to do murals for the Ministry of Education in Rio de Janeiro. Also he executed three for our New ‘York World’s Fair. The ct for the series in the Library of Con- gress followed naturally, and, with fae e v*’* THE SUNDAY STAR, WASHINGTO Bulletin of Current Exhibitions Art, Constitution avenue at !i.nh street— ‘World masterpieces of painting and sculpture. Permanent and private loans, Special “Picture of the Week” exhibit Jtn\hry 2’1—31 ° National Museum, Constitution avenue at Tenth street—National collection of fine arts. Special exhibitions: Collection of jldAl lent by George Estoppey; paintings and prints by Antonios Rodriquez Luna g::wo Graphic Arts Section; etchings and dry points by Roselle B Freer Gallery of Art, The Mall at Twelfth street 8. W.—Oriental art; peacock room, paintings and prints by J. McN. Whistler and other American artists. Corcoran Gallery of Art, Seventeenth street and New York ave- nue.—Pain! by American artists; Clark collection, paintings, tap- estries, etc. Special exhibitions: Paintings and drawings by Adolphe Borle; pltntl.nu and monotypes January 31, “Naval Defense Activities,” by Vernon Howe by Eugene Higgins, and, opening thorized by the Secretary of the Navy; Society of Washington Artists’ 51st annual exhibition; also Society of Miniature Painters, Sculptors and Gravers. Phillips Memorial Gallery, 1600 Twenty-first street N.W.—Loan exhibition of works of modern Mexican painters. Arts Club of Wi , 2017 I street N.W.—Water colors by Lona Miller Keplinger and gouaches by Prances Ferry. Howard University Gallery, the Founders’ Library—Exhibition of advertising art assembled by the Art Directors’ Club of New York. The Whyte Gallery, 1707 H street N.W.—War cartoons by Arthur Szyk, sponsored by the Polish Ambassador. & Oaks Collection, 3101 R street N.W.—Early Christian Dumbarton and medieval art. 'Also library. Bk AR ke BB “The Mining of Gold,” one of a series of four murals by Candido Portinari of Brazil, placed Poundation. in the Hispdnic Division of the Forests and Domination of the 8oil,” (3) “Religious Teaching and the Dawn of Culture” and (4) “Gold Mining,” again representative of life in a new-found country. Portinari is said to have *dis- eovered” the common man, he whose life iz primaxily physical rather than intellectual, and brought him to the attention of the world. It was Gauguin, however, who years before declared the ailment of art to be civilization and advocated, as a cure, retufn to savagery. From that day to this there has been in con- temporary art a steady downward trend. The art of primitive man is of enormous interest when studied in the original, as is that which witnesses to his advancement in civilization and culture, but when merely revived and envisioned imaginatively by those of a much later era it has no value at all his- torically. Also the “common man” is not a rare specimen, or in danger of extinction; in fact, he is always with us, and only when, through privilege of education or the posses- slon of rare qualities, he becomes uncommon, does he deserve to be placed with the immortals or given the attention that today is his. So much for subject matter. With regard to technique, Portinari in these murals on the walls of the Library of Congress, Which, by the ‘way, are on a very large scale, the figures being more than twice life size, has run the gamut from the realistic to the extreme impres- sionistic. This an advocate of the works refers to as “the artist’s evolution of mural style toward the dissolution of form and color”; likening the distortions, to which he finally resorts, to “staccato notes” in a musical composition. The colors used are strong and brilliant, the forms are roughly but impressively indicated, the manner of painting is broad but crude. In the first of the series, “The Discov- erers,” the color scheme is high keyed, white and blue, and flapping ropes, from the mast of a boat, cut the composition vertically yin two parts. In the fourth, “Mining Gold,” there is greater variety of color and & better arranged composition, but the style of treatment has under- gone a great change, extreme im- pressionism taking the place of realism. Seven figures here make up the group. On the faces of the miners, white triangles take the place of noses, the heads are almost all flat- tened, movement is exaggerated, all is grotesque. Surely these are not men in God’s image and endowed with Godlike qualities and potenti- alities. To the average visitor the reason for such a painting will be far to seek. The painter, Candido Portinari, was born in 1903 in the interior of the State of Sao Paulo. He is today sald to be the leading artists of Brazil. His first art training was in the Academies in Rio de Janeiro, MATERIALS A 5% /919 E STREET N.. a| NATIONAL 9176 Library of Congress. the approval of Mr. MacLeish, Li- brarian of Congress, and David Lynn, Architect of the Capitol. Their execution occupied the artist six week. That Portinari has talent, and courage, and imagination, there can be no doubt, and seen in some other location even these murals might appear to advantage, but as now placed they are out of scale and out of harmony with all their surround- ings, hence a disfigurement rather than decoration. The Hispanic reading room is architecturally fine in desigm; and its decorations, which are very reticent in feeling, are ex- quisite in color—to put such a scheme in competition with any- thing as blatant as the Portinari murals is cruel indeed, like drowning opinion cannot only be allowed but encouraged. This, however, is fot a matter of modern art, nor traditional art, the art of the United States nor that of Brazil, but art as a thing in it- self, a revelation of beauty in form and color, in spirit and in fact, which, at its best, speaks to the hearts of men in its own visual lan- guage, bringing them joy and cour- age and peace, not alone for the moment but for all time. Art for us today is a star in a very black and threatening sky. To the majority of the people who visit the Hispanic Division of the Library of Congress these new mursals by Portinari will not be found beautiful, and when the sincerity of the artist and the generosity of his government are a violin obbligato by the music of a brass band. But there are some who find these murals beautiful, among whom is the Librarian of Congress, and, doubtless, others. In a letter to the President of Brazil, released in part at the time of the dedication, Mr. | MacLeish said, these murals “aye not only beautiful paintings that illustrate the field of interest of the Hispanic Foundation but also make a highly original and important con- tribution to American art.” Such reactions differ with indi- viduals, and it is true that from time to time fashions change. In ladies’ bonnets, what was thought beautiful 50 years ago may seem ridiculous today. But art is not quite so superficial. Beneath the changes on the surface in its field is that sound foundation of immut- able laws built up by the convictions of generations of those who have been best qualified to judge, and because of which, such freedom of considered—more is the pity. But let every one judge for himself. Mexican Art. At the Phillips Memarial Gallery there opened on January 11, to con- tinue until February 1, an exhibi- tion of works of modern Mexican painters and printmakers, organ- ized by the Institute of Modern Art, Boston, where it was shown first, which it will go in turn, It consists entirely of loans, the majority of which are from the col- lection of MacKinley Helm, assem- bled during three years’ residence ~—Courtesy of Hispanie in Mexico, the greater part of which was given to research and study resulting in “Modern Mexican Painters,” published last year, and accepted by Mexicans as very com- plete and authoritative, The foreword to the catalogue of this exhibition, which fills four gal- leries in the Phillips Memorial Gal- lery, was written by . Helm and gives an excellent idea of those char- acteristics which set the School of Mexico City apart. Mexican art, this artist claims, has an individual- ity all its own—something beneath the surface which the casual observ- er is apt to fail to see. use Rivera’s art has been used for politi- cal propaganda, the average person, Mr. Helm claims, is inclined to look for this element in all Mexican painting, whereas Rivera’s painting lent itself to such purpose merely because of its exceptional artistic excellence. Orozco, on the other hand, while no less talented, turned his attention to art for ‘art’s sake and brought the younger artists back to this broader conception. The third of the big trio repre- sented in this exhibition is David Al- faro Siqueriros, an innovator -in techniques and media, notably with spray gun and Duco—in connection with the painting of murals on out- side walls—who, for political reasons, 1s now an exile’in Chile. He was & member of the interna- tional jury for paintings at the great Olympic exhibition in Los Angeles in 1982, When asked at that time what influence he thought the art of the United States would have upon that of Mexico, his reply was, with a shrug, “None.” It was the other way round, he thought, as Mexican art had already made, and ‘would continue to make, a deep im- pression upon the art of the United States of America. This was true then and more true now. Antonio Luna Exhibit. While the collective exhibition of paintings and prints by Mexican art- ists is on view in the Phllips Memo- rial Gallery, s one-man exhibition of the work of another Mexican artist, Antonlo Rodriques Luna, is to be seen in the foyer of the National Museum (Tenth street and Consti- tution avenue) under the patronage of the Ambassador of Mexico to the United States and Mme. Castillo Na- Jera. Born in in 1910, Luna stu- died first at e and then in Ma- drid. He has exhibited in Madrid, Barcelona and Paris as well as Mex- ico. In a national competition held in Spain he was awarded first prize, and he now holds a Guggenheim Fellowship. The majority of the 25 pictures he shows are of groups of people—united by some common in- terest or special happening. In these he is at his best. Also his still-life studies—quite elaborate composi- tions, gravely rendered—are of in- teresting quality. Least impressive are his portraits, which seem rather devitalized and ghostly. Most engaging of all, however, are his prints, elaborate in subject and exceptionally well rendered—the groups depicted being well delin- eated and the effect as a whole dramatic and provocative of interest. In two or three instances he has rendered these in color. This exhibi- tion will also continue through the present month. Red Cross Competition. The Red Cross has announced the | intention of buying works of art by artists of the United States through & competition set up and conducted by the section of fine arts, Public Buildings Administration. The art- ists are asked to send in paintings in oil and water colors, posters, drawings and prints, which in design and treatment will be suitable when displayed or reproduced to make known the activities of the American Red Cross. Prices paid will be from $300 down to $10 and the copyright will be vested in the Red Cross. | The jury of award will consist of | Olin Dows, Charles Coiner, Edward | B. Rowan, Holger Cahill, G. Stewart Brown and Forbes Watson. Works entered must be delivered to the section of fine arts, marked “For the Red Cross Competition,” on or be- fore March 18, 1942, Further in- formation may be secured from the section of fine arts. Fine Craftsmanship Noted In New Commercial Art By Florence S. Berryman. Good craftsmanship is the feature which impresses the observer most forcibly in exhibitions of advertising art, such as the national show now on view in the handsome new art gallery of Howard University, and the first annual commercial art and photo show of the Advertising Club of Washington, displayed last week end (January 17, 18 and 19) at the Raleigh Hotel. The first mentioned, selected from the 20th Annual of the Art Directors Club, New York City, comprises about 75 items which are being cir- culated by the American Federation of Arts. The traveling exhibition opened at the Yniversity of Minne- sota early last fall, after which it was taken over by the Office of Co- ordinator of Inter-American Affairs and was sent to the Guatemala Na- tional Fair (Guatemala City) in No- vember. A cable from Guatemala announced that the United States section was a “hit." It is easy to understand why ex- hibitions of Advertising Art impress the public. - Advertisers’ success or failure is due- entirely to whether the public is interested in or in- different to their efforts, and art directors for advertising agencies, in consequence, have about as pene- trating knowledge of public taste as possible. There is variety in media, styles, techniques, subject matter and approaches. The exhibits run & gamut from literal illustration to complete abstraction. But the com- mon denominator of all these ad- vertisements is good craftsmanship; there is nothing slipshod, fumbling or immature. This is a point which some modern artists might ponder to their profit. ‘The paintings, drawings, photo- graphs, prints and other works in the exhibition at Howard University were among less than 300 selected from 4,000 entries by unbiased and photographs in the seme classes, continuities, magazine covers, posters and car cards. Well-known contemporary artists who are responsible for these works include Stow Wengenroth, Dean Cornwell, Robert Riggs, Peter Helck, Edward Steichen, Pierre Roy and Norman Rockwell. The advertisers represented are even better known to the average person, for they offer products and services which most of us use from time to time. This exhibition, which should be of particular interest to commer- cial artists, will remain at Howard University Art Gallery to the enrl of February. The three-day exhibition of the Advertising Club of Wi although local in scope, had similar characteristics to the national show. The club’s purpose in assembling the show was to exhibit the best of art commercially used in Washing- ton advertising, to foster its con- tinued improvement and to observe the changing influences and trends in advertising illustration and de- sign. Any artist or photographer, living in the District of Columbia or within & 25-mile radius, who had produced arvertising art or photog- raphy which had been commercially executed in this city, was eligible to submit work. The club awarded a “first-place” citation and three “distinctive mer—| it” certificates in several divisions of work. First place for posters de- servedly went to Merwyn N. Mc- Night, jr, for his work for the Greek War Relief Association. It featured the winged victory, in a cool gray-blue and white scheme. Ralph Patterson’s family of tele- phones done for the C. & P. Tele- phone Co. received first place for color illustration, while Gene Hoo- ver's interesting pattern of hands (for Standard Engraving) fetched the citation for black and white illustration. First citations for pho- were D. C, JANUARY 25, 1942, ART AND MUSIC. Benny Goodman Joins Hans Kindler in Concert -Union of Swing and Symphony Featured Here Tonight B 82 in A Mnjor.” The Nlflnml Symphony will be (their recording which was voted, also in the Metronome poll, “the best hot record of the year”), “Don’t Be That Way,” “One O’Clock Jump,” “Body and Soul” “Blues in the Night,” “Let’s Do It” and the drum concerto, “Sing, Sing, Sing.” Benny Goodman occupies a unique position in American music. Al- most single handedly he lifted popu- lar music out of the doldrums of “symphonic” jazz into the heady realm of “le jazz hot,” and then, acknowledged to be the greatest hot clarinetist the world has ever known, he went on to become the only man in popular music to be accepted on the concert stage. At the same time, Goodman plays chamber music for his own amuse- ment and has appeared both in concert and on records with the Budapest String Quartet. ..In shart, this young man who was born in Chicago’s Ghetto 32 years ago and had his union card at 13, has proved that the unbridgeable gul! is not between the classics and pure jazz, but simply between good music and bad. - the second half of to- night's concert, Goodman willl be heard with his full band. For the benefit of those who follow such things, its present personnel is made up of Jimmy Maxwell, Bernie Privin, Irivng Berger, trumpets; Lou Mc- Garity, Robert “Cutty” Cutshall, trombones; Sol Kane, first alto sax- ophone; Vido Musso, George Berg, tenor saxophones; Charles Gentry, baritone saxophone; Melvin Powel?, piano; Tommy Morganelli, guitar; Ralph Collier, drums; Sid Weiss, bass; Art London, Peggy Lee, vocal- ists, and the leader himself on clarinet. Marion Bauer Lecture The Washington Music Teachers’ Association, Inc, will present Marion Bauer, nationally known musicologist, lecturer, com- poser and out- standing author- ity on the subject of mod- ern music, in a lecture on American music at the regular monthly meet- ing to be held at the Women's City Club, 736 Jackson place N.W, tomorrow at 8:30 p.m. Miss Bauer Marien Bauer. will be assisted by Constance Rus- sell, pianist, in the following pro- gram: Folk and popular Snfluences— “Prelude No. 2,” Gershwin; “Ar- kansas ‘Traveler” (old fiddlers’ breakdown), Guion, Impressionism —“The Fountain of the Aqua Paolo,”' Griffes (from “Roman Sketches, Op. 7"); “The Tide, Op. 10, No. 1”; “A Fancy,” “Prelude in F Minor, Op. 16, No. 6,” Marion Bauer. Contemporary influences— “Prelude No. 7,” Crawford; “The Cat and.the Mouse” (“Scherzo Hu- moristique”), Copland. Chamber Music Guild ‘The Chamber Music Guild will present two works by Schubert on its program at Almas Temple on Wednesday evening at 8:45 o'clock. The “Quartet in A Minor, Op. 29,” will open the program, and the concluding number will be the “Quintet in A Major, Op. 114,” called “The Trout,” written for piano, vio- lin, viola,.cello and contrabass. In the latter, Frances Nash Wat- , pianist, and Frank Eney, con- mbus will assist the string in- Deared néee requently with syt ere frequen sym- phony orchestras and was_guest soloist this winter with the Boston Symphony. Mr. Eney is well known from his performances at the Li- brary of Congress. Two songs by Louls Cheslock, American composer who has re- ceived several national awards for his works, will be sung by Abrasha Robofsky. Mr. Cheslock arranged the songs for voice and string quar- tet especially for this concert. John Howard Faust, the composer- taxicab driver, who has achieved Benny Goodman, above, will appear as soloist with the National Symphony in the first part of tonight's pro- gram and as director of his own band in the second half, Right, Juan Jose Castro, Ar- gentinian conduetro, will direct the National Symphony at the Pan-American Union Thursday when Marisa Re- gules, pianist, left, will be the { Juan Castro Leads Argentine Program Next Thursday In tribute to the culture of the Americas, Juan Jose Castro, Argen- tina’s foremost composer-conductor, will join with the National Sym- phony Orchestra on Thursday eve- ning in the Hall of the Americas of the Pan-American Union, in the presentation of a concert which fea- tures the works of native composers, of Argentina’s outstanding woman planist, Marisa Regules. soloist. San Carlo Opens Here Next Week Will Provide Brief Winter Season for Opera Lovers Fortune Gallo's famous San Carlo opera company will be in Washing- ton next week at the National Theater. The. brief winter “season” of opera for the Capital City-will be opened Sunday, February 1, with & performance of Bizet's “Carmen,” with the vivacious American con- tralto, Coe Glade, in the title role. Mr. Gallo, who during the season just closed in Chicago steered the brilliant opera company of that city for the first time through a daz- zlingly successful season, has been educating generations of opera lovers in the classics of opera reper- toire for years that extend back even of the First World War. Mr. Gallo has recognized and heliped a growing number of American singers to experience and oppor- tunities in professional work. Some new young singers, as well as the favorites of his company, will appear in Washington. Among those who will sing principal roles | will be a new coloratura soprano named Spencer and the young bari- tone Leonard Stokes, who made his operatic debut here last summer in “I Pagliacci.” Other Americans longer with the company include the 100 per cent American Indian soprano, Mobley Lushanya, whose “Aida” and “Leonora” won enthusi- asm here previously; Lucille Meusel, Sydney Rayner, Leola Turner and Richard Wentworth, as well as many who, foreign-born, have be- come naturalized Americans. The repertoire is selected, as is Gallo’s custom, from among the es- tablished classics and will Xm:lude February 1, “Carmen”; February “Rigoletto”; February 3, "Aldl". February 4, “Hansel and Gretel” (in English) and ballet in the after- noon, “La Tosca” in the evening; February 5, “La Traviata”; Febru- ary 6, “Faust”; Fel 7, “Mar- tha” (in English) and ballet as matinee, “Il Trovatore” in the eve- ning as concluding performance. Concert Schedule TODAY. National Symphony Orchestra, Dr. Hans Kindler, conductor; Benny Goodman and his orches- tra assisting; Constitution Hall, 8:30 pm. Miksa Merson, plano recital, Phillips Gallery, 4 p.m. Maxwell Galloway, soprano, Women's City Club, 5 p.m. Sunday Music Hour, Margareta Zilllacus, soprano; Nelle H. Im- lay, pianist; Y. W.C. A, 5 pm. Clifford McCormick, piano re- cital, King-Smith Playhouse, 9 pm. TOMORROW. Washington Music Teachers’ Association, Marion Bauer, guest speaker; Constance Russell, pi- anist, assisting; Women’ City Club, 8:30 pm. “Evening With the Victrola,” Public Library, Eighth and K streets N.W.; 7:30 p.m. TUESDAY. Composers’ Club program, Arts Club, 8:30 pm. Navy Band Symphony Or- chestra, Marine Corps Audi- torium, 8:15 p.m. Marine Band, Marine Barracks, 12:30 pm. ‘WEDNESDAY. Chamber Music Guild, Frances Nash Watson, pianist; Frank Eney, contrabass; Abrasha Ro- bofsky, baritone, assisting; Almas Temple, 8:45 p.m. Marine Band Symphony Or- chestra, Charles Owen, xylo- phonist, soloist; Marine Barracks, 8:15 pm. Jewish Folk Chorus, Abrasha Robofsky, baritone soloist; Pierce Hall, 8:30 pm. Victrola concert, Musical Art Center, 8:30 pm. THURSDAY. National Symphony Orchestra, Juan Jose Castro, conductor; Marisa Regules, pianist, soloist; Pan-American Union, 9 pm. ‘Washington Sln!onletu. ish Community Center, FRIDAY. Friday Morniag Music Club, Irene Lerch, pianist; Neva Maaske, soprano; Walter Howe, drum; Barker Hall, 11:30 am. SATURDAY. Marine Band, Marine Bar- racks, 10 am, and 2 pm. Van In Local Musi¢ Circles The Composers’ Club of Washing- ton will present the program at the Arts Club on Tuesday evening at 8:30. The composers represented will be R. Deane Shure, Dorothy Radde Emery, La Salle Spier, Mary Howe, Emerson Meyers, Alden PFinckel and Parker Bailey. The program will consist of a string quartet with piano and voice, instru- mental, trios, & group of madrigal singers from Mount Vernon Church, Harlan Randall, head of the music department of Maryland University, and Maxwell Galloway, soprano, will sing several compositions of members of the club. Iva Loughlen Guy presents pupils of her piano class in recital this afternoon at 4 in the Recital Hall at 1842 Mintwood place N.W. Those on the program are Mary Abbe, Nancy Barker, Robert Basart, Betsie, Kimbrough and Susan Bassett; Bar- bara and Peggy Jo Brown, Joanne Frank Henderson, Marlene Jacob- Mary Van Veen n.nd Teddy Yoos. Hallie Mae Reed, soprano, who has been studying at the Juilliard School of Music in New York, will return to her home on Mason avenue, first week in February, during of Mrs. Irvin L. Clark, 300 Missis- | sippi avenue, Silver Spring, on Wednesday at 10 am. Mrs. A. W. Volkmer will present a paper on Bra- zilian music and the choral group will sing the Brazilian national an- | Mrs. them and several folksongs. E. B. Reid will accompany Mrs. wu‘.hell wmmm Collins will present his | Friendship House pupils in a phxm recital this afternoon at 4 o'clock.| Those taking part in the recital are: Evelyn Arminger, Paul Arminger, | Shirley Boyer, Evelyn Cutshaw, Jo Ann Ellman, Paul Garrett, James Leeman, Herbert Leeman and Don- ald Vaughn. The public is cor- dially invited to attend this recital, which will be held in the music studio of Pnendah!p House, 619 D street S.E. The music division of the Y. W. C. A. announces two classes to be- gin on Monday, February 2. “Introductory Harmony” under May Eleanor Smith is lchequled for 15 mkx, meeting from 8 to 9 on evenings. “The Art of UMDJ to Music” 'fll be a four- week course given by Helen Mid- dleton Smith, at the same hour, For information on :these and other classes and music clubs call the music office. — e ‘THE DMITRIEFF STUDIO estends an invitation to the pudlic to attend & P Bl e ot Miss Estelle Dennis of the Baltimore = A s v ‘Works of American composers will comprise the entire second half of the program. North Ameriea will be represented by Aaron Copland's “An Outdoor Overture,” and from South America will be heard the works of three Argentine compos- ers: Mr. Castro’s “Arrabal” (from the “Sinfonia Argentina”), “La Huel- 1a” and “El Gato, by J. Aguirre (transcribed for orchestra by E. Ansermet), and a suite of four ex- cerpts from the ballet, “Panambi,” by the 25-year-old Alberto E. Ginase tera, who is regarded as the out- standing representative of the young generation of Argentine composers. Mr, Castro has not limited hime self to composers of the New World. South American interest and par- ticipation in the music of classic composers will be demonstrated by Castro’s choice of his own outstand- ing transcription of “Three Chorals for Organ,” by J. 8. Bach, to be followed by Cesar Franck’s “Sym- phonic Variations,” for piane and orchestra, with Miss Regules taking the solo role. Until recently, Mr. Castro has been known to North Americans chiefly because of his compositions. But in South America, and par- ticularly in his native Buenos Aires, he has been well and favorably re- ceived as a conductor since 1928. Formerly the conductor of the Colon Theater and at present the leader of the symphony orchestra of the | “E1 Mundo” Broadcasting Co., Mr. Castro has done much to keep music, ballet and opera living arts in Ar- | gentina. He directed the N. B. C. Symphony Orchestra in three con- certs last month. Marisa Regules, the guest soloist, began her studies under the direc- tion of the famous Argentina com- poser, Alberto Williams. In 1931 she went to Europe to continue under the direction of Jose Cubiles of the Tonservatorio of Madrid, re- turning to Buenos Aires three years later to make her debut with the | Orquesta Sinfonica of the Teatro | Colon. In October of last year Miss | Regules gave a concert in Town Hall in New York with great suc- | cess, Merson in Recital Miksa Merson, Hungarian pianist, will give the first of a series of re- citals on masterworks of the piano this afternoon at 4 pm. at Phillips Memo- rial Gallery. Mr, Merson was for- meérly actively identified” with music in this city and has re- turned after an [ absence to re- ¢ sume his public vlaying. The program this afternoon will be devoted to works of Miksa Merson. Hadyn, Mozart and Schumann and will include the latter’s “Fantasy in C Major,” “Toccata in C Major” and “Carna- val”; Haydn’s “Sonata in E Flat” and Mozart's “Rondo in A Minor.” A list of distinguished patronesses will sponsor the concert. McCormick Recital Clifford McCormicl brilliant young pianist, will play a modern | program this evening at 9 o'clock at the King-Smith Playhouse. In | connection with the recital, Mr. Mc- Cormick will give a brief resume of the well-known painters and sculp- tors working in the modern medium of the musical composers of the same era. Mr. McCormick's pro- gram will include “Sonatine, Bare tok; “Ipanema,” Milhaud; “Mouve- | ments Perpetuels,” Poulnec; “Son- ate No. 4” (F sharp major) Scria- bine, and “Six Piano Pieces Op. 19,” | Schonberg. Helen Spilmen inaugurated her Wednesday evening victrola concerts last Wednesday at the Musical Art Centgr, 1325 G street N.W. Miss Spilman, who possesses one of the largest private collections of vic- trola music in the city, has ar- ranged these concerts to bring to- gether music lovers in an informal, friendly atmosphere. All theory and technical discussions will be avoided but Miss Spliman will preface each group of works with entertaining anecdotes concerning the, lives of composers and artists. A nominal m_m-o_mw_;_ GrcMVOpom sbnm-.tlic "Tenor oice R'eu ist =Ty 1519 Oak St. N.W. (Nr. 16th) *