davidaulloa/AmericanStories huggingface dataset:
Evening star. [volume] (Washington, D.C.) 1854-1972, 1938-08-07
Floating Palace of Chesapeake Has Talent
Aboard, Friends of Many Who Knew
Miss Ferber in Earlier Days.

every night-much in the same man.
ner as when they met Miss Ferber and
told her of their moonlight romance
atop the floating theater after the
final curtain. 1t was this love affair
the daughter of showboat owner and
the young leading man-that inspired
the love element of Miss Ferber's book.
During her visit to Leonardtown
Miss Ferber met Joe Gum. a local
Negro. It was he to whom she looked
for background to characterize Joe"
of her novel. Still living, Joe. his hair
white, is employed at Cremona Farm,
near Mechanicsville. The old South
still lives in Tidewater Maryland.
MO LONGER bay country audiences
4 thrill to the scenes of East
Lynn" and THE Face on the Bar
room Floor" Current attractions have
been modernized. according to Roberts.
Such titles as misplaced Husbands"
Oman" and Love in a Hurry" ap-
pear on the program. No villain turks
in the wings for a dashing entrance.
horse pistol in hand. Instead of
coyly blinking her China blue eyes to
the hero, Muriel Halleck, this years
leading lady, narrows her brown eyes
and processes to know q thing or
two in Thursday nights show, y
Shanghai Goldie."
IF we played the good old blood
and thunder melodramas, our audi
ences would attribute to bad acting
the sweetness Of Little Nell and the
villiany of understanding scoun-
drel," Roberts explains.
Early in April, the present owners OF
the theater, Mrs Nina Howard and her
foster son, Milford Seymoure, both
of st. Michaels, called the showboat
troupe from all sections of the country.
After a month Of rehearsals, the
theater was lowed out of its winter
quarters for a 30-week season. Down
through the Chesapeake Bay country
and in the little coastal villages OF
Virginia, the Carolinas and Georgia,
there are, believe 1t or not, thousands
Of persons who have never seen . DRY
land" playhouse.
Evening star. [volume] (Washington, D.C.) 1854-1972, 1938-08-07
\ JOHNSON'S GIFT KEPT INTACT
Collection Be Displayed in New Gallery Was Assembled With
Pictures in Mind Rather Than Names-Titan May
Have Painted Portrait of a Cardinal.

in works hung almost side by side, the
traditional and the new spirit.
Between the two paintings by
Guard, in the Ralph Cross johnson
Collection, hangs Portrait of
Cardinal attributed to the greatest
Of all Venetians, Titan. but not listed
in catalogues of his works. Considered
from every standpoint Titan was one
of the greatest portrait painters that
ever lived. This Portrait Of Cardi-
nal" is a great work of art and essen
TALLY in the spirit and character Of
Titan. Dark, with patina Of age,
mellowed by time, it Is still rich IN
color value and superb as characteri-
cation. Whether 1t is the work of the
master himself or of one of his atelier
assistants may never be known-but
that it brings to us glimmering Of
the school of Titan none can deny.
Also this canvas testifies to the great
height to which portraiture attained in
the golden age Of Italian painting.
nIRECTLY opposite the portrait Of
the Venetian cardinal, at the far
end of this gallery. hangs Raeburn's
portrait of his colleague, Archibald
Skirving." painter of Edinburgh. con-
corning the authenticity of which no
question has ever arisen and than
which no finer work in this field ex-
lists. 1t is difficult to explain why a
painted portrait may be, and some
times, as in this instance, is hundred
per cent more interesting and exciting
than the individual could ever have
been; in fact, the only surmise is that
because it is so magnificently done it
moves and thrills US. Not what Is
done, but the way.
Raeburn had. however, in Archi-
bald Skirving an admirable subject.
His coloring, the regularity Of his
Evening star. [volume] (Washington, D.C.) 1854-1972, 1938-08-07

Few seasons to hear the great Spanish
cellist in any way that q recording by
him Is always a welcome one. Then,
too, Dvorak and his music are par
ticularly close to the American people
and it is practically duty to become
thoroughly acquainted with the COM
positions written by him during his
stay in this country, inspired by his
impressions Of our life.
The cello concerto is not made Of
the same stuff as either the symphony
or the quartet. While the American
themes which he loved creep in from
time to time 1t Is not built around
them as the other works are, and on
the whole it has more substance than
the more lyrical character of the
others allows. 1t is sterner, deeper
Dvorak. giving full sweep to his fan
tasy without any restrictions. 1t makes
no attempt at simplicity. such as was
the keynote Of his quartet, in particu-
lar, but reaches out to occupy the
place where the finest work OF Dvorak
belongs among the great ones Of the
earth.
1T WAS written during his last year
in this country and produced the
following year, 1896, in London by
the London Philharmonic Orchestra,
with the composer directing, and the
cellist. Leo Stern, as soloist. 1t would
seem that Dvorak intended this con-
certo to be as perfect a major work
for cellists as he could make it. and
to this end he did not hesitate to
seek advice from leading opponents
of that instrument. The concerto is
dedicated to Hans Wihan, friend of
Dvorak's and founder of the Bohemian
String Quartet, who was asked to
flngure and bow the solo parts. Another
cellist, the American. Alvin Schroe-
der, had also been consulted regarding
some of the technical passages and
was the first to present it in America,
playing it with the Boston Symphony
on December 10, 1896, nine months
to the day from its premiere in Lon
don.
But having gone to cellist for
advice, Dvorak became worried that
changes might be made by soloists
and he would give it to the publishers
only on their promise that no altera-
ton should be made without his per-
mission. He was even wary Of Wihan.
who had helped him and who had
written cadenza for it which. Dvorak
would have none of. He writes with
especial stress that this cadenza lis
not to exist either in the orchestral
or in the piano score"
WITH all the thought and study Of
the instrument which Dvorak
gave before the concerto was written,
he was justified in believing that
he had created q work which not
only drew upon the full capability
Of the cello to present it at its best
but that he had produced a work
noble enough and difficult enough tc
interest the greatest virtuosi of thi:
instrument. Pablo Casals is undoubt-
eddy the type of artist Dvorak had
in mind, for his presentation Of ii
is superb in every detail. Its diff
culties are as nothing to him and
his magnificent technical security
takes hold of 1t with the greatest ease
There are power and depth In the
Evening star. [volume] (Washington, D.C.) 1854-1972, 1938-08-07

country as guest conductor of the
New York Philharmonic Orchestra in
two concerts in Carnegie Hall in 1922
He followed up the impression made at
that time by a spectacular summer
season at the open air concerts by
the same orchestra in JeWisohn Sta
dunn. Since that time his career in
America has been a series of eXtror-
binary concerts with leading orches-
tras throughout the country In addi-
ton for Is years he was conductor OF
the Portland (Oreg) Symphony
bringing that orchestra to the fore
front in the symphonic field.
Tickets for this weeks concerts
are on sale at the National Symphony
box Office, julius Garfinckel g. Co., the
A. A. A. Ticket Bureau, and at the
Water Gate after II am. on Sunday
and $50 pm. on Wednesday.
The complete program for tonight
follows:
"Csrneval' overture Dvorak
Fifth Symphony Tchaikovsky
DR.. Laird Waller. guest conductor.
INTERMIssION.
"Cantus Gregorianus" Balendonck
Procession OF Royal Scot Guards.
Balendonck
Armand Balendonck, guest conductor.
KALEIDOSCOPE Buys
Peter Buys. guest conductor.
Group OF Songs "a cappella)-
Gene Again Sweet Love Dowland
The Nightingale MendelSsohn
The Lark's Song MendelSSohn
Sunrise Taneiev
Washington Choral Society. Louis
Potter. conductor.
1.-The Chambered Nautilus Taylor
Choral Society and Orchestra: Louis
Potter. conductor.
Wednesdays program (Willem Van
Hoogstrate. guest conductor:
"Fldelic' overture Beethoven
symphony No. s. Beethoven
1NTERMISS1ON.
Don Juan Strauss
Eight Russian Folk Songs - Liadov
FESTIVALS DebuSSy
HUNGARIAN Dances No. 20. and :"
Brahms
Evening star. [volume] (Washington, D.C.) 1854-1972, 1938-08-07

Cincinnati and Minneapolis Orchestras
and has been guest conductor of Or
chestras in Dresden, Berlin, Munich
and Vienna.
In 1924 DR.. Waller became the first
conductor of the American Opera Co.,
one of the pioneer and most distin-
guished efforts to popularize the per-
Torrance of the standard operate
repertoire in the English tongue In
1929 he founded the Milwaukee Phil
harmonic Orchestra and continued as
it conductor until 1885 Since then
he has served as conductor of the Chi
cago City Opera Co.. the San Carlo
of the New York Civic Orchestra, the
Grant Park concerts in Chicago and
the Illinois Symphony.
MR.. BALENDONCK. pupil Of
Cesar Thomson and Eugene
Ysaye, has conducted the Brussels
Symphony, the Paris Radio Symphony
Orchestra, the Warsaw and Posen
Philharmonic Societies and, in his
adopted United States, symphony or
chestras in Cincinnati, Philadelphia,
Hartford, Syracuse and Newark His
Procession which DR.. Kinder
premiered at the opening concert in
the Sunset Symphony series, was
suggested by newsreel of the corona
ton of King George vi. "Cantus
Gregorianus," a composition for two
string orchestras, is religious in its
mood and is based on Gregorian
themes.
Mr.. Buys, a native OF Amsterdam.
Holland, was formerly a member of
Sousas Band and was arranger for
that famous organization. Composer
Of a number of works. his recent COM
positions, Of which Kaleidoscope" is
one, are Of symphonic proportions.
According to the composer. the work
is a depletion of the varied expert
ences encountered by youth entering
the world, his struggles. aspirations,
defeats and his final triumph.
ON WEDNESDAY night Mr.. van
" Hoogstraten will present Bee
thovens "Fidelio" overture and
Eighth Symphony" Strauss tone
poem, Don JUAN" the Eight Rus
sian Folk Songs" of Liadov. Debussy S
Festivals" and Brahms Hungarian
Dances Nos. 20. and L." Mr.. van
Hoogstraten was introduced to this
Evening star. [volume] (Washington, D.C.) 1854-1972, 1938-08-07

thought to be by Rembrandt have in
recent years been given to Macs, but
there is, 1t must be confessed, little
that Stimulates in subtlety in this
painting the work Of the greatest Of all
the Dutch masters. Here Is q piece
of frank, straight forward, realism
at its very best. None could be more
typically Dutch than his Burgomaster
and few more obviously opulent and
content. Such must have been they
for whom Rembrant painted his Might
Watch" with such disastrous outcome.
Had Halls undertaken this commission
he would have been more vivacious-
but none could possibly have been
more truthful, more completely sue
cessful in perpetuating his sitter to
the very letter Of the law than Macs
or whoever 1t may have been who pro-
duced this masterpiece.
Mention should also be made Of two
other groups Of paintings in this collec-
ton, one of landscapes by Richard
Wilson, David Cox and Turner, who
through their works encouraged and
built up school OF landscape paint
ing, destined to have great vogue. but
now, alas, on the wane; and of re-
ligious paintings by Flinck. pupil
of Rembrandt; by Francia Of the
Bolognese School, by Orley Of Flan-
ders, and Mainhardi of Florence,
brother-in-law and pupil Of Domenico
GhirlandajQ all Of whom add va
riety and interest. In short this is a
very we'll balanced collection, EVIL
dencing the taste as we'll as selective
ability Of the donor and providing
much material for study and delight
full contemplation. 1t is rumored
that additional works will be added, to
its further enrichment, later on, by
the donors daughter. Mrs. Marshall
Langhorne Of this city.
Evening star. [volume] (Washington, D.C.) 1854-1972, 1938-08-07

sons, but knows the boat from stem to
stern, from pilot house to cooks gal
ley; he knows the bay from Havre De
Grace to Newport News. But he was
busy, rehearsing, acting. directing
Since the troupers' 4 o'clock supper
there had been last-minute repairs to
scenery and dialogue changes to cover
up for an extra man the script in
cluded but the cast didn't.
To be sure, there was no steam
calliope, no MONDAY parade to stir
the imagination of every plowboy OF
the section-and Charley. Hunter was
not there. But there was certainly a
spirit of trouping. Yes, Mr.. First
Officer, there are still troupers in the
showboat business.
Charley Hunter left the showboat in
1880 after nearly lifetime aboard the
craft. Leading man and director, ne
was the prince charming OF every
rustic lass of the tidewater section,
playing opposite his wife, Beulah
Adams, daughter of the original owner
of the boat. It was Charley, who, in
the middle 1920s, was host to Edna
Ferber as she spent three weeks
aboard the bargelike craft to gather
material for "Showboat."
or HER interview with Hunter, Miss
Ferber wrote:
HE talked for hours. He talked
until evening came on and the hour
for the nights performance approach
ed. And as he talked repeated a
silent prayer. "Oh, Lord, don't let him
stop talking" Tales Of the river
Stories of showboat life. Characteri-
cations. Romance. Adventure. River
history. Stage superstition. I had
chunk of yellow copy paper in my
hand. On this I scrubbed without
looking down, afraid to look away fol
fear of breaking the SPELL"
Today, Charley Hunters head i
grazing as he approaches so. Anc
with Beulah he is following their OLD
itinerary with a tent show, substitute
ing stateroom quarters for life in
trailer. Thick with grease paint. they
stu play leading man apd insenut
Evening star. [volume] (Washington, D.C.) 1854-1972, 1938-08-07

features, the modelling OF his head,
his character and bearing are all ex-
ceptional-but it is the amazing skill
and senstiveness with which Raeburn
made his Interpretation which sweeps
the observer off his feet. Every stroke
Of the brush tells; every shadow is
transparent but positive the head is
merged into the background, but there
is no suggestion of paintiness-no
technical display.
So engaging and satisfying is this
portrait that Baltimore contractor
once confessed to business associate
that he rarely came to Washington
without taking time off to run in and
see it; and a we'll known art lover
was heard. upon occasion. to declare
that if he could possess but one paint
ing in the world this would be his
choice. Extravagant praise-if you
will-but well merited.
n AEBURN, it will be remembered,
was about 80 years younger than
Reynolds and other members of the
great English school of portrait paint
ing. He was born in Edinburgh and
spent his youth there in considerable
poverty. Apparently, however, he was
predestined to become an artist. He
took every opportunity to acquaint
himself with the best art and receive
instructions. So obvious was his gift
that Sir Joshua Reynolds offered to
advance the money for him to travel
abroad-an offer declined, but never
forgotten. After two years in Rome,
Raeburn returned to Scotland with
the intention of settling in London,
but was dissuaded by Lawrence, much
to his later advantage. In Edinburgh
he found excellent patronage and dur
ing his best years painted many dis
tinguished Scottish men and women.
Curiously enough 40 years after his
death he seemed to be almost forgot
ten, but in the last double decade he
had been steadily coming into greater
importance, until today he Is ranged
with the half-dozen greatest portrait
painters of the world A notable loan
exhibition of American-owned cam
vases by Raeburn was held in New
York late in the past season. The
National Collection of Fine Arts has
no greater treasure than his portrait
of Archibald Skirving, for which the
late Ralph Cross johnson is to be
thanked.
Adding to the interest Of this Rae
burn is the fact that in this same
collection are portraits by Lawrence,
Gainsborough, Reynolds and Romney
also one by Hogarth. There are, in
fact, two Lawrences and two Rey-
nolds. OF the former the portrait Of
Lord Abercorn is especially represent
alive and imposing Gainsborough Is
represented not only by portrait OF
Lord Mulgrave, in Naval Uniform"
but by characteristic landscape,
Family at the Cottage Door," little
in the spirit and color Of the famous
Market Cart" This reminds us that
in Gainsborough's day there was no
sale for such canvases, painted primar-
lily to please himself, and covering the
walls Of the hallway leading to his
studio. But now they sell for very
high prices.
OTHER schools of portraiture are
we'll exemplified in this collection.
There Is an admirable portrait of "A
Venetian Senator" gravely and simply
painted by Lorenzo Lotion the early
18th century. and an inimitable
one Of a Dutch Burgomaster," by
Nicholas Macs, whose dates were 1882
1893. Some Of the portraits once
Evening star. [volume] (Washington, D.C.) 1854-1972, 1938-08-07
Final Summer Sing
OF Business Women.

A T THE final Summer Sing" Of the
Business and Professional Depart
ment of the Young Women's Christian
Association special lecture-recital
will be given by Mrs. John Simmons,
lyric soprano Of Forth Worth, Tex. &C
companied by Mrs. Frederick Benton.
Mrs. Simmons will sing in costume a
program of two groups, one of Mexican
music, the other of Jenny Lind num-
bers. Her costume for the latter group
is an authentic reproduction of one
worn by the Swedish singer
The program, which will include
some singing of folk songs by the
audience, will take place on the roof
at Seventeenth and K streets at
O'Clock on Tuesday. The public is
cordially invited to attend.
Evening star. [volume] (Washington, D.C.) 1854-1972, 1938-08-07
Music From
Green Drama
Published
ModernLyrics Have
An Old English
Background.

THE LOST COLONY sonsoook'
containing % songs. hymns
dances and other music from Paul
Green's historical drama, "The Lost
Colony" now in its second summer
season at the Roanoke Island Water
side Theater, Manteo, N. c., has just
been released.
The complete songbook. compiled
and collected, with additional lyrics by
Paul Green, is based on church and
secular music of 18th century Eng
land. Lamar Struggled, the North
Carolina Pulitzer composer, arranged
the songbook and wrote five original
numbers for the score. Elizabeth Lay
Green wrote the lyrics for 1.-The
Baptism of Virginia Dare" which
Mr.. Struggled composed specially, and
for 1.-THE Elinor Dare's Lullaby" Ad-
ditional arrangements were made by
Adeline Mccall.
Most of Green's plays have been
constructed against q musical back
ground to contribute mood, tempo and
color to the entire work. For the score
of THE Lost Colony" he selected his
musical background from hymns, bal
lads and carols of 18th century Eng
land.
Many of these old English tunes
are popular today. providing the music
for new and relatively modern lyrics.
Modern hymnals offer an abundant
store of them. Because music of the
Elizabethan period was intimately con-
nected with the church. large part
of 1.-THE Lost Colony" score. by Lamar
Springfield. was taken from the early
Anglican liturgy.
In addition to the religious music Of
the period, there was q wide range Of
secular tunes. These gave the author
an abundance of period music from
which to select the airs which he in
corporated into the background Of his
drama Of the first Anglo-American
settlement.
Such tunes as "Greensleeves,"
Good Ale" 1.-THE Mermaid" and
Adam Lay Ybounden" are distinctive
and characteristic of THE Lost
Colony" music.
In simple Elizabethan dialogue and
in choral songs based on ballads,
carols and hymns Of 10th century
England, Paul Green tells the tragic
but heroic tale Of Sir Walter Raleigh's
little band of men, women and chill
dren, who came to this continent in
1EQS ord Vanished ,,ovcfarios,e1u <,,o
years later.
Produced by the Roanoke Island
Historical Association, In cooperation
with the Federal Theater Project and
various other agencies Of the Works
Progress Administration, "The Lost
Colony" Is being described - America
Patriotic oberammersau.
Evening star. [volume] (Washington, D.C.) 1854-1972, 1938-08-07

composition, and much ingeniods EN-.
ployment Of instrumental combina-
ton, but the cello dominates and leads
with glorious regard for the richness
Of its tonal color and its wide range
Of expression. Casals plays 1t with q
zest and freedom that Is inspiring to
hear, bringing to bear on it all the
wealth Of his superb musicianship.
Whether one is devotee Of the cello
or not, the present recording is worth
having at hand where one can repeat.
eddy hear it.
IT IS not often that the public can
have anything played by the Phila-
delphia Orchestra and directed by
Stokowski without buying an entire
album. But this month there comes
single disc with two recordings by
this famed group, the "Andante."
from Cesar Franck's Grand Piece
Symphonique," Transcribed by Charles
O'COnnell, and on the reverse side
Tschaikowski's Solitude" arranged by
Leopold Stokowski. Here are two
numbers Of universal appeal played
with that extraordinary insight, which
is associated with Stokowski. They
are both Of simple line, but deeply
emotional, characteristic of the spirit.
ually-minded Franck and the dreamer
Tschaikowski. The conductor Of the
Philadelphians gives these smaller
works the same attention as he does
the symphonies, and the result pre-
sents just as good an example Of his
genius at interpretations as do the
major works.
A STEEL photograph needle de-
signed for accurate reproduction
of Victor Higher Fidelity records.
and which provides longer needle life
without loss Of quality or danger to
records, is being introduced by RCA
Victor, it Is announced by Edward
Wallerstein, record sales manager.
Designated as the RCA Victor Red
Seal needle, the new product has
many advantages not to be found in
the ordinary steel needle. The Red
Seal reproducing point Is q radical
development in steel needles. 1t was
perfected in the RCA Victor labora.
tories and is manufactured entirely
in the United States. 1t Is sold in
attractive envelopes containing so
needles. Mr.. Wallerstein explained
that, although the Red Seal needle has
| a longer life than ordinary steel
needles, it is not "semi-permanent'
needle and will in no way take the
place of the popular RCA Victor
chromium needle.
Because of the tremendous inn
provements in the art Of recording
recently incorporated in Victor High
er Fidelity records, the needle plays
an increasingly important role in
their reproduction" Mr.. Wallerstein
said Unless properly manufactured
needles are used many Of the adj
vantages Of the improved Victor re-
cording methods are lost. For this
reason RCA Victor decided to de-
velop and introduce a precision nee.
die OF better quality and longer life.
It's temper Is uniform and its dimen-
sions are exactly correct to give the
finest reproduction and at the same
time keep record wear at . mini
num-"