Evening star. [volume] (Washington, D.C.) 1854-1972, 1931-05-11

Stevens, was heard In an I'M
familiar composition by Percy
Granger, the children's march
over the Hills and Far Away" NO.
of the Room Music Ttt-bits, ARRANGED
for two pianos. Mr.. Stevens carried
his part through with VerVe ano
adroit participation in the gay ana
exhilarating swing OF the music.
A point Of great beauty was Betty
Gray's group of songs with Vloln
obbligato's played by, Wnnelminas
Amiss. The Schubert Serenaoe
first and next the exotic But Lately
in Dance" by ArenSky, and finally
a most worthy adaptation of
Barnby's Sweet and Low" the obbli-
cato of which was written by Anton
Kiehl, Mrs. Gray's voice Is one of
LIQUID beauty and her singing style
grows more convincing with each
hearing. :.
probably the highest attainment OF
the evenings ensemble efforts were
reached in the performance OF the
Beethoven "Trio OPP. H." for VIOLIN
cello, violin and piano, involving the
services of Mrs. Arliss, Mrs. Roberts
and Mr.. .Amanuel. The qualities OF
this groups Interpretation OF the
nuance3 and subtle inteTchanges of
theme betray the discriminating
supervision Of Emanuel zetlin.
The List Hungarian Fantasy"
closed the program, the solo part
PLAYED by Lena Kssh, who had
aa.lier played effecE'yA accomp&ni-
meni. ior MRS. GtAys group or
.onss. the pls n'stlc skill displayed
by this young musician promises . q
Interesting future for her. She 0ls-
played poiSe and O considerable oaSl1
Of hrilliance which made an inter-
estdng performance. +. A.
Given by King-Snith School.
a sONG-DANCE recital given by
~ Margaret Handy, soprano, and
Jean ArendeS, dancer, last evening
was as interesting an expression of
studio craftsmanship IS Washington
has seen in some time. The en-
tire program was designed and ar
ranged by these students of the
King-Smith Studio School. The eff
feet, charmingly done, was 50 COM
pletely in the new manner that one
felt that the art soul of the moment
was definitely in the hearts Of these
young people.
The dancer left one with graphic
impressions of the types portrayed.
There was an ode of Pindsr" in
three moods, between each Of which
Miss Arendes recaptured her tableau
pose against Greek vase-all CT
the symbolic settings being the work
of Robert Byrne. The Prokofieff
Suggestion DiaboIique," with stark
silhouetted steps for setting, with
a hideous mask that gave force to
the dance impression, was grinping-
ly done, the accent of the dancer
to the force OF the music being one
of Miss Arendes' vital assets. The
work was in the modern German
mode, definitely programmed to ut
a mechanical" dance, the steam
engine. again with mask-the masks
all the work of the students.
A tropical "Pareo," with mask
that almost spoke, against q lurid
setting of warm color, again showed
the freedom CT drama Of the body
and truth to mood. To much of
the dancing the humming voice was
added.
Miss Hanhy's songs were really
costume recital. old French, Span
ish and modern songs, with just
enough gesture 10 give life to the
music The singing was gratifying
ly musical and kept within the
compass off, young voice. The little
French "Bergerettes" held esprit
end a voice to float them; the
Spanieh songs in their native Ian
guase were seductive and subtle.
"Song" in English, composition OF
MIR. King-Smith, was yocally good
and O. fine little thing. To a pic
turesoue Dvorak Gypsy Melody"
the two young artists combined
their work.
Penelope Tarwater, another stu
dent. was accompaniSt throughout,
giving excellent meaning TO all OF
these little dramas, that today may
be interpreted by music, by move
ment or with appeal to the eve.