Evening star. [volume] (Washington, D.C.) 1854-1972, 1933-04-20
VIOLA D'AM0RE PLAYED
AT AFTERNOON CONCERT
BY ALICE EVERSMAN.

THE opportunities for hearing the
viola d'amore on concert program
are rare. indeed, as are also the times
when the viola appears outside its or
chestral or quartet functions. The con-
cert given on these instruments by
Alix Young Marches yesterday at the
residence of Frank j. Frost was there
fore all the more welcome as an occa-
sion to hear them played by an artist
such as we are accustomed to associate
with the usual favorite string instru-
ments. This Is Miss Maruchess' second
appearance here this Winter, her first
concert having taken place at the
Textile Museum.
Miss Maruchess is first of all, and
independent Of her skill in playing these
instruments, a splendid artist. Her ap-
probation Of beautiful phrasing, her
and well executed Interpretation prove
how sound and thorough is her mu-
steamship. With this is combined a
warm temperament. which makes itself
evident through the more restrained
tone of the two instruments she has
chosen to play. Miss Marches purely
mechanical equipment is sure and
amply developed, and the tone she
draws from both viola and viola d'amore
Is mellow and unrestrained, so that the
softneSs of sound Is infinitely pleasing.
Having heard the first recital, 1t must
be admitted, however, that larger hall
adds to the volume and clarity by allow
ing the tones to soar away and strike
additional resonance.
For the viola the program was en-
tirely Of modern compositions, with q
superabundance Of French and Spanish
Not oil af
on the viola, nor did the tone quality
suit the composition in every instance.
The familiar clear sound Of the violin
would intrude as more fitting inter-
prefer Of Spanish rhythms or certain
delicate nuances Of the French school
However, In composition like "Elegie,'
by Faure, the viola was superbly ap-
propriate and its rich dark tone ex-
pressive Of q deeper beauty. more
haunting and heart touching than he
violon could achieve. Meditation
Hebraique." by Bloch. was another work
in which the power for tragic utterance
seemed to have been concentrated in the
tone Of the viola.
The viola d'amore was an interesting
contrast to its heavier toned sister, and
Miss Maruchess played it with the same
adroitness that she displayed for the
viola. A charming group OF numbers
from the period Of its popularity showed
the different arpeggio and hageolet
effects, which is about the extent of the
variety to be obtained. The Sonata, /"
by Ariosti, was . noble example Of the
type of music written for the viola
d'amore, and its dignity and flne senti-
ment were well brought out by Mis-,
Marches artistic handling Of it. An
other number of daintiness and charm
was Milandre's "Polonaise," which was
played unaccompanied. and the Min
uet" by the same composer, which Miss
Marches added as encore Katherine
Ellis supplied an accompaniment ad-
mirably modulated to fit in with the
character Of the instruments. The
beautiful music room. an unusually at
tractive environment for recitals Of
more intimate character, was filled with
an attentive audience, charmed to en-
thusiasm by the uniqueness Of the
concert.