Evening star., 1933-06-12

EsInalluti LeIlul, MyTUli
- Whit Whitn ~ and Fanny Amstutz
i Satr Iday evening at the Wash
ing ton College of Music. Those
taxing p' Srt were Lena Kash, Helen
Miller ar n Victor Neal, pianists; Kinzie
Gibbs a I'd Mary Templin, vocalists, and
Wilhelr alma Amiss and Grace Powell,
violini is.
MI IS Kash played the Andante sos
tent TO movement of the Saint-Saens
C'Elcerto Op. o." and Victor Neal
Wa heard in Chopin's 'Etude No. 10'
I'd Debussy's "Poissons dor" Both
fianists showed solid technical foun-
fsdation equal to the demands made upon
it. Mr.. Neal caught more fully the at
mosphere Of the Chopin etude than
the Debussy number, the delicate, imag-
NATIVE side Of the "PoissonS dor" be-
ing not sufficiently sharply enough de-
picted. He was received with enthusi-
astic applause and recalled several
times.
The seldom-heard Concerto Op. 49,
by Gabriel Pierne, was played by Miss
Miller, with Mrs. Roberts at the second
piano. The concerto is not one in
genius comes to the fore and In 1t he
resorts to many effects of ordinary
pianistic calabra to produce a technical
glamor. Miss Miller showed a fine un-
derstanding Of the dynamics which con-
stitute the principal color Of this COM
position and played with freedom and
excellent tone. Her phrasing was par
ticularly noteworthy and, in spite of q
lack Of brilliancy of execution that
would have made the concerto more
effective, she gave a fine exhibition of
thorough musicianship and good train
ing
Secchi's "Lungi del caro- ben," Lully's
'BolS EpaiS" and Cadman's "The
Builder" were the numbers sung by
Kinzie Gibbs. MIR. Gibbs displayed a
voice OF mellow quality and sang the
three numbers with appropriate senti-
ment, giving particular pleasure by the
sincerity Of his feeling. Miss Templin
gave the area. "Ah, mon fiIs," from Les
Huguenots; Faure's difficult "Apres un
reve" and Delibes' gay Bon jour, Su-
zon." Miss Templin's voice Is espe-
cially well suited to French songs and
she managed the long phrases artistic
ally and without effort. With greater
care for good pronunciation, Miss
Templin could excel In the particular
style Of Interpretation that French art
demands. She was the recipient of
generous applause, which she was re-
called to acknowledge.
The first movement of the Men
delssohn violin concerto was played by
Miss AmiSS, accompanied by Mrs. Rob-
erts. Miss Arniss Is not technically ma
ture enough to do all that she might
with this concerto. Although certain
sections were excellently played, others
suffered from q too slow tempo and
frrN LrNo
that delayed the desired effect. These
are handicaps that can be easily reme-
died and when this is accomplished,
Miss Amiss will have evened out her
performance to the proper degree.
Grace Powell was heard In three short
numbers that gave ample opportunity
for her to demonstrate a large and
pleasing tone. She plays with musical
feeling and style and gives promise of
still greater possibilities Her numbers
were Delius' Lullaby for a Modern
Baby" Moussorgsky's "a Tear" and
Boulanger's "Nocturne" The accom-
paniments for the students were played
by Lyman McCrary and Mrs. Roberts.
THE advanced pupils of Frances
Gutelius were presented In varied
program Saturday evening at the
studios, the program finishing with the
distribution of contest certificates from
the Federation of Music Clubs. The
winners Of the certificates were HARLAN
Meyer, Charlton Meyer and Walter
Swank
HARLAN Meyer played "Nocturne"
Of her own composition, showing a re-
markable talent for form, harmoniza-
ton and subject matter. She brings
maturity of thought to her interpreta-
tions that is rarely heard in as young
performer and a sure technic that Is