Evening star. [volume] (Washington, D.C.) 1854-1972, 1931-11-24


stal1tuesoue pose. swathed in two
white wells which extended quite
across the stage. The management
of these. while simply done, was
slightly disturbing. The second duet,
an "Idyli." was a charming study IN
greens, while the dancing showed
freshness and springhke ex-
uberance.
The beautiful white satin costumes
of the Beethoven "Minuet" were a
toy to the eye and the polished gen.
tleman and coy nademoiselle added
their charm as well. Marian Chace's
next solo, a study of the "Fictional
Character of LucreZia Borgia, with
a "Nocturne Satanique," by George
Cornwell. played in the background,
was an expression of genuine emo
fional fervor. She accented this in
tensity by sudden frightened nut
tering of the hands, quick change
of her body to long sweeping curve
of supplication, sudden yacillations
back and forth, a final revenge sue
ceeded by remorse, and the Whole
climaxed in a powerful yet feminine
gesture of triumph. Miss Chaces
Interpretation was sincere ana con-
vincing. Her "Viennese Waltz was
not quite so satisfactory
Lester Shafer reached two hlgn
points in his solos. First In "hWsnu i
the Eagle" taken from the Hopi
Indian drama. The costume, one
of Ted Shawns, had white, droop-
ing feathers as wings. rattltng bones
below the knee, the whole accented
by black hair and red decorations.
There was power in the humping
feet. and wild spirits that came TO
=. sudden break when the eagle stag
Rered. wounded, to rise again ana
spread its wings wide in conclusion.
Mr.. Skaters tour de force" how
ever. was the Song of Sinbad."
Here one had no interrupting sense
al technical difficulties. One
watched, fascinated. the animated
telling of stories, the wooing OF
lady love, Sinbad's despair at the
prospect of being buried alive at her
death and his miraculous release
all this being portrayed with vigor-
Gus rhythmic gestures, injected by
q rollicking sense Of humor.
During the program George Corn
well played two groups OF piano
knwsky,s "Troika" and Rachmsn-
inoff's "Polichinelle." The second
created a real stir. Mr.. Cornwell
has composed an Oriental Suite"
which he played last night for the
ffrst time in public. The three parts
are each based on an ancient
oriental myth. These myths Mr..
Cornwell related quite charmingly to
the audience. As programmatic
music it is enticing and was played
throughout with real interpretive
insight. Mr.. Cornwell's accompani-
ments for the dances, especially In
the latter part of the program, were
done with technical mastery and
versatility of style. D. G.
: Talk on Tudor Music
Given by SADIE G. Styron.
HIGHLY interesting and delight
4 L full was the talk on Tudor music
which was given yesterday by SADIE
C. Styron for the American AsSo-
citation of University Women, in its
well filled club rooms. Miss Styron
covered so large a subject in SO
short a time we'll Omitting the
liturgical music (but not failing to
point out its greatness, she confined
herself to the madrigal, the ayre and
the keyboard music. The talk was
amply illustrated by the Madrigal
Singers, directed by Mrs. John Syl-
vester. They sang madrigals by
Morley, Gibbons, Este and an ayre
in parts by Dowland, and Elizabeth
Waters sung two songs by Ros-
setter and Morley-all charmingly
Enthusiastically liked.
Treating the keyboard music,
Miss Styron emphasized that the
chief accomplishment Of the Eng
lish virginalist was the variation.
She played two-"Tower HILL" by
Farnaby, and why Ask You?" by
DR.. John Bull.
As one listened to these delightful
compositions one could not but Won
der that this period Of music is so
neglected and so little known. Ital-
ian music of this period, to which
composers and Inusicologists are
barking back as to new renaiS-
sance, contains nothing so lovely as
Dowland's "Come Again, Sweet
Love" or Rosseter's what, Then. Is
Love but Mourning" Miss Styron
told of a day when music was more
ffxt -