Evening star. [volume] (Washington, D.C.) 1854-1972, 1929-01-29
M u SIC
MUSICAL ART INSTITUTE.

| A musical advertisement, with Selec-
tons including full symphonic orches-
| trations and piano, violin and vocal
solos. was offered last evening by the
students and orchestra OF the 1nsVl-
| tute of Musical Art, at the vermont
Avenue Christian Church. Most OF the
soloistS. as we'll as many of the mem
bers of the orchestra group, were quite
youthful artists, showing fresh spirit
and vitality. combined with whatever
technical excellence each possessed IN
| his own right.
Beethovens "Prometheus" overture,
by the orchestra, under the baton of
DR.. C. E. ChriStiani, opened the eve
ning's program. Strangly, though it
was the opening number-and thus
pardonable for any flaws it might show
this overture struck the reviewer as
the most capably handled orchestration
of the evening. with better balance of
tone throughout than in either of the
| two later numbers.
Another Beethoven selection-the
Sonata Pathetique"-was played with
vigor. and deft touch by Frances
Griffin Villaret, pianist. She was fol-
lowed by Flora Marguerite Clayton in
two violin numbers, the last of which
was Gardeners attractive From the
Canebrake." g
Mortimer Davenport, singing Han
del's "Oh. Sleep. Why Dost Thou
Leave Me" and two popular Schumann
numbers, Itch Grolle Mich" and "Du
BiSt Vie Fine Blume," displayed an ex-
cellent natural voice, with true tone
and easy placement, but far from TO-
bust. 1t is much more important at
his age that Mr.. Davenport cultivate
his delivery and muSicianship, as he
appears to have done. There are al
ready too many powerful singers in the
world, and far too few careful ones.
"Du BiSt VIE Fine Blume," for its
romantic feeling, was well, if quietly,
sung.
The orchestra's rendition of the allie
gro moderate and andante con motto.
from "Schubert'S Unfinished SYM
phony, lacked the coordination which
the Introductory number had 1t was,
IN passages. an absolutely lifeless thing,
with dlsconcerting lack of agreement
among the various units, both as to
tone and spirit
One of the most confident players on
the evenings list was Victor George,
who went at some of SaraSate's gypsy
airs In no uncertain terms, albeit with
agile lingering and clever bow work. He
was rewarded with the greatest ap-
plause given any artist Of the evening.
| Glenn B. Carow, a youth in knee
trousers, had all the Savoir faire he
needed, in addition to his technical
equipment. to give correct and sure
Interpretation of Chopin-LisZt Polish
Song" 1t was marked by good finger
ing and pedaling; the whole rendition
bespoke practice.
| Ida Willis Seaton followed with two
numbers, rendered in a placid fashion.
with occasional warm tones, The first
selection was marked, too, by the violin
obbllgato OF Frieda Haul Irwin, the or
cheStra'S concert master. The second
number was Schubert'S 1.-THE Young
Num-" an appealin gthing when given
with proper dramatic STRESS
| The long singing tones of the
"Berceuse" from Massenet's "Jocelyn'
were well brought out by Virginia Cure
ton in the succeeding violin selections.
/ The second selection was one from
Wieniawski. DR. Christiani played the
accompaniment excellently.
| The Verdi-Liszt "Rigoletto" para
phrase, played by Martin A. Dowd,
easily marked the piano high peak of
the evening, strongly and colorfully
given. Mr.. Dowd, with Katherine Wells,
played the evenings accomplishments
for the other artists.
The orchestras rendition of a suite
from the "Sigurd Jorsalfar" of Grieg
concluded the concert. 1t was marked
| by much more sympathy between the
several units of the group than was ap-
| parent In the Schubert work.