Evening star., 1933-12-28


down in memory as something
The quartet is composed of Ezequ
or small lutte, of a tone quality
Pepe, playing the laudette, the
Elisa, whose original lutte is an
Paco, with the large lutte, also
These four varieties of the same
which has not its equal in more
effects and multiplicity of tonal CT
At the greatest fortissimo passages
the concerted volume OF sound is never
startling, yet within the small scope
these young people from one family
achieve some of the most beautiful
nuances it has been the privilege OF
musical audiences to hear in many
day. The skilled technique of each in
dividual Is SO polished and suave and SO
admirably adjusted one to the other that
the resulting ensemble is the perfection
Of smoothness Within this frame OF
highly developed technical proficiency
the Aguilars give ample play to their
musical feeling in finely arranged prom
inence of individual instruments, per-
fectly planned shadings and united pre-
cision in effects.
There is surprising neatness and or
derliness in their work, if one may use
Of lack of temperament, but as means
of describing an unusually well thought
out and well executed ensemble. Their
nationality would preclude want of
temperament, but any exuberance in
this direction is controlled by a real
and highly cultivated artistic sentiment.
Nothing lovelier in sustaining pure clas-
sical outlines could be imagined than
their playing Of the "Ronda" by Cou-
perrin, Bach's "Polonaise" and Sara
bande' and the Mozart march ALA
Turca"
A particular word Of praise should
be given Paco Aguilar, who, on the
large lutte with son1ber quality, gave
such finely developed Shaoings at the
proper moments that the highlights of
Interpretation Of the quartet seemed to
be under his control A short obbligato
passage brought the original lutte played
by Elisa Aguilar for a moment to the
foreground, but the burden of the melo-
! die line was carried by the laudin of
Ezequel and the laudette Of Pepo Agui-
! lar
A second group from modern Spanish
composers. Albeniz Granada" "Danza
de la Pastora," by Halffter, and de Fal-
| las "Danza del Fugo," gave wide op-
portunities for their native tempera-
ment ana lnDOrn sense OF rhythm to
come into play. Their technical equip
ment was again pleasure to hear, a
perfect vibrator and sharply defined
limits of phrasing adding greatly to the
fine artistry of their first numbers.
Nine. Vallin, in three groups of num-
berS. proved again her proper right to
be considered the greatest soprano of
France. For sheer beauty Of tone there
! Is hardly soprano voice today that can
| equal hers, and throughout her program
yesterday she retained the pure quality,
never permitting herself to overstep the
boundaries and force her tones out of
their natural power, as she was inclined
to do formerly. All the various points
that are drilled into singing students
find their raison d'etre in Nine. Vallin's
singing for the high plane of voice
placement. the perfect legato, fexibilitiy
troll, found ample demonstration in
each number Nine Vallin sang.
Out of her program the choicest
Mozart's "Nozze di Figaro and the four
Spanish songs. "Canto Andaluz' and
Polo" by Min; "Cantar" and mo
Loreis Ojuelos," by Granados. In these
her voice was purity itself, while her
Interpretation brought out every detail
with simplicity and grace. Faure ber-
course, Dolly" Dupont's "Chanson des
noisettes" and the "Air de Lia," from
Debussys "L'Enfant Prologue" were
sung with rich feeling. yet the vocal
quality was not quite so perfect as in
the Italian and Spanish numbers. 1t