Evening star. [volume] (Washington, D.C.) 1854-1972, 1927-03-01

The Halls Of the Americas of the
Pan-American Union Building was
filled to capacity with an audience of
distinguished patrons of music, mem
bers of the diplomatic corps and must
clans last night to hear the unusual
program Of Latin American music pre-
scented under the auspices of the di-
rector general of the union. The pro-
gram was broadcast to a much larger
audience.
Every selection was carefully chosen
either for its typical or unique Latin
American appeal. Two outstanding
features We're the combining of the
United States Army and Navy Band
Orchestras ipto an ensemble of rs
musicians and the premier preSenta.
ton of the preludes of John Adam
Hugo's Inca opera. THE Sun God"
The program was opened with a
short description of the story OF the
opera. The libretto was written by
DR.. Bartlett B. James, who, in addi-
ton to being an authority on historical
detail, has had experience in collabora-
ton on an opera with Reginald de
Koven.
Hugo Uses Inca Scale.
Mr.. Hugo, composer of 1.-THE Sun
God" also composed the music for
THE Temple Dancer" an operate
work presented at the Metropolitan
Opera House. 1t was given two sea-
sons in Chicago and one in Honolulu.
In 1.-The Sun God" Mr.. Hugo has used
the five-tone scale, which formed the
basis Of Inca tribal melodies. The In
dian melodies and the Spanish themes
are discerned clearly even in the two
short preludes played last night.
Mr.. Hugo seems to have a rather
Wagnerian style of using his strings
and harp in the music as played last
night, but there Is also a definitely
original and musicianly style of his
own. Hearing the preludes invites
curiosity to hear the entire score. The
opera is written with 20 solo parts and
for a chorus of 800 voices if given in
it's fullest scope.
Mr.. James story tells of Nance, an
Inca warrior who has won recogni-
ton for his valorous deeds. When,
however. trouble threatens, he is
chosen to be the prime sacrifice to
the Sun God. He is in love with Ca
celt, beautiful virgin of the Sun God,
gins Of old Greek mythology. She
urges him to flee to the hills, where
she will join him; convinced. he goes.
She, however, has planned to stay
and be the sacrifice in his stead.
When in the hills near Lake Titicaca
the truth dawns upon him, he loses
his reason and the hillfolk find him
there as a. halfwit.
Saved by SUMS Eclipse.
They take him with them back to
the city to attend the big sacrifice.
He unknowingly is the one who binds
GNs<~ al b. "a H.
is saved by the natural phenomenon
of an eclipse Of the sun. The super
stitious Incas believe that in this way
the Sun God is showing displeasure
with the sacrifice. Believing Cacelt
uncannily protected, they make her
their queen. Nance, still delirious, is
taken back into the hills. He has a
vision of the return of the old
legendary folk Of the earliest tribes
to life and fees until he stumbles on
the camp Of PizarTo, invading Span
ish chieftain, who uses him as q tool
to storm the city where Cacelt is
queen. Nance, face to face with Ca
celt, is Jared mentally back to nor
ma1cy, and there is a big scene of
emotional despair, etc. Nance, now
useless to the invading conquerer, is
killed and Cacelt is led off to be burn
ed at the stake. The opera is based
upon actual fact, and the leading
characters are all real people Of his
tory.
Carlos Valderrama, Peruvian plan
list, also used Inca melodies in his prel-
ude, 'Voices in the Fountains Of the
Incas. E fiat minor" which was given
admirably after a few short rehearsals
and with orchestral accompaniment by
the United Service Orchestra, Lieut..
Charles Benter, directing. Later, in a
group Of solos, Senior Valderrama
played an Inca rhapsody and two Inca
etudes, both Of which are said to be
favorites of Josef Hofmann's. The
last etude, written in E minor, has
| modernistic tendencies in tone color
and phrasing and ends with one of