davidaulloa/AmericanStories huggingface dataset:
Evening star., 1938-07-10
Pan>America
Concert on
Thursday
Mexican Baritone
On Program With
i. S. Army Band.

ON THURSDAY evening the Pan
American Union will present the
second in the series Of concerts OF
the current season, featuring the
music of the American Republics.
The program will be given in the
Aztec Gardens of the Pan-American
Union, and will be the eighty eighth
in the series of concerts inaugurated
by the Union in 1924.
The instrumental portion Of the
program will be played by the United
States Army Band, under the direc-
ton of Capt. Thomas F. Darcy. who
will present variety of selections by
composers of the American Republics,
and will also include several instru-
mental solos by members of the band.
The assisting artist on this occa-
sion will be Jose Agustin Hernandez,
Mexican baritone, who took his first
singing lessons in New York City
from Maestro Corradeti. During the
past three years Senor Hernandez has
been heard in many concerts in Mex
leo City, as well as over the radio.
He will return to Mexico this fall to
fulfill engagements during the coming
winter in Mexico City and South
America.
The Blue Network of the National
Broadcasting Co. will carry the first
Evening star., 1938-07-10
In Local Music Circles

cert accordionists; Selma Klein, So
prano; Frederick 'Freund. baritone:
Toni and Lee, Trudie and Bette, Betty
Cavanaugh and Jerry Grif1is, dancers:
Marvin Yago singing accordionist, and
Ray Batalena, xylophonist.
Eunice Thompson Shepherd pre-
sented her pupils in her eleventh
piano students recital at Garnet-Pat-
terson Junior High School auditorium
June 27. Among those participating
Barbara Hutchinson, Carol Marie
Greene. Janice Browne and Charlotte
Shorter were 3. 4 and S years Of age,
respectively. David Leer, dramatic
reader, gave several selections. Gifts
awarded by Mrs. Shepherd to students
completing the elementary grade were
presented by Gabrielle Pelham.
Rebecca Chandler presented her
pupils in q piano recital June 2S at
the Y. w. c. A. assisted by Eloy POM
maya. a pupil Of Mary Park Clements,
and Madeleine Lurba, Nancy Gala
han, Egor Slopak, pupils Of Nine.
Continho. Those taking part were
Frank and Lally Stone, Gloria Boil
ing. Royce Silbersberg. Zella Mullins,
Eleane Donaldson, Marilyn Anderson,
Mary Hunter. Elaine Silbersberg, Max
Inc Anderson, Margaret Sutton, Mar
jory Whitney, Mary Allen and Will
ford Milofsky. Olive Constant Pratt
was accompanist.
Evening star., 1938-07-10
By Alice Euersman.

The refined product of civilization
which is man of the present day must
listen with a strange mixture Of feel
ings to the music of Jan Sibelius. It
speaks of conditions and emotions long
forgotten in the hurried pace with
which progress has been accomplished
yet dimly sensed not only as a part
Of human nature but a force which
has driven man from prehistoric days
to the present era
Among the Victor releases of this
month is the Finnish composers
Symphony No. in A Minor, Opus
63." legend for orchestra, ''Lemmin-
kainen zieht Heimwarts" and the Incl
dental music composed for Shake
speare's The Tempest" all in one
album. The set of records is played
by the London Philharmonic Orches-
ira under the direction of Sir Thomas
Beecham, and consists Of seven dou-
bic discs. This album presents the
Finnish master in different moods and
gives a comprehensive idea of the
extent and the character Of his musi-
cal thought.
Since a vogue for Sibelius' music
has been started in Europe and Amer
lea, 1t has become the custom to see
him as a painter Of strictly national
feeling, portraying the contours and
the historical background of his
country with extraordinary vision.
Yet Sibelius himself disclaims any In
tention Of posing as a nationalist and
has said that although a great patriot
he Is q Cosmopolitan" But to for
eigners his music must inevitSAly call
up . picture Of the grand yet bleak
country of the north and the sturdy,
simple and warm-hearted people of
that region.
In this age when there Is such a
trend toward modernism that music
has almost been divorced from its
character as cultivated by the older
masters. Sibelius speaks again in the
voice of the great ones. The content
of his music is the same and he has
proven that its subjects are not ex-
hausted as many would have US be-
lieve. He is the leader in the SYM
phonic form of today and a model
for the young and striving composers.
He has shown them that music can
progress in the old form without the
need of discarding it for peculiar
derivations which bear no stamp of
authenticity.
mo one has ever been able to have
Sibelius admit that one of his SYM
phonies more than the other Is his
favorite. Yet from constant refer
ence to 1t one might feel that the
Fourth has a particular place in his
affections not shared by the others.
Whatever his personal estimate. the
world comedies that the symphony
released this month in record form
is decidedly his greatest. One has
but to hear that strangely omnious
Evening star., 1938-07-10

there is character and great charm.
His sense of the pictorial in arranging
this composition has furthermore stood
him in good stead The two figures
center interest and form a pyramidal
design, the lines of which are re-
peated in the outlying hills.
Undoubtedly Sargent's portraits
show more virtuosity than Shannon's s
but what of it? Is it not fortunate
circumstance that each had diversi-
fled gift? That with comparatively
so little training and discipline, Shan
non should have become, and in such
short time. so proficient as a painter,
is little less than miraculous but
obviously he had extraordinary en-
dowment-gift. And the fact is that
it Is less unusual than many may sup
pose for genius to mature early-burst-
ing forth inexplicably as a birding
full fledged. Some Of the world S
greatest poets. musicians and painters
have given of their best while youth
was still in their veins. For this rea-
son it is a little hard to sympathize
with the current desire tenderly to ma
ture the so-called youth movement
and with infinite patience condone
Evening star., 1938-07-10
Tipica Returns in
Autumn Concert.

MERCADo's Tipica Mexican Or
A chestra, one of the most pic
turesque musical organizations in the
world, has been re-engaged by the
Conti-Berenguer management for a
second Constitution Hall concert, to
take place next November.
The Tipica will be fulfilling its third
tour of the United States next sea-
son, having in the space Of only two
years won recognition as one OF the
musical worlds most novel entertain
ments. The orchestra and its bril-
liant soloists-singers, dancers and
ACKNOWLEDGEMENTS in some
of the leading concert halls of the
United States last year, including
Boston's Symphony Hall. Chicago's
Orchestra Hall. San Franciscos Opera
House and New York's famous Wal
dorf-Astoria concert course.
The program will again feature con-
cert, folk and popular music Of the
Latin Americas. Jose Rubio. leading
tenor Of the National Opera Of Mexico;
Senorita Sarita, sensational salterist,
and Luis and Josefina Ojeda, foremost
Mexican dancers, will again appear
Is soloists with the orchestra.
Evening star., 1938-07-10
Memorial PROGRAM.
A MEMORIAL program in homo,

A MEMORIAL program in honor OF
the late George Foster Peabody,
philanthropist, was given at the WASH
ington Conservatory of Music and
School of Expression, 902 T street
NV, last Sunday. G. F. Peabody for
years gave time and money to the
cause of Negro education. Speakers
Of the occasion were DR.. Garnet c.
Wilkinson, first assistant superintend-
ent Of the public schools, and Dean
Kelly Miller, with music by the fac
ulty Of the conservatory.
Those who participated were James
Rogers, pianist: Vernon Reynolds, vio-
linist; Josephine Muse, soprano. and
J. A. Jones. soloist with the invisible
choir. David Leer. dramatic reader,
presented q tribute to George Foster
Peabody, written by Harriet Gibbs
Marshall, president Of the conserva-
tory. and Jennie Brown Lee, vice
president Of the institution, read an
editorial from the New York Times
on the life Of the noted philanthropist.
Evening star., 1938-07-10

At the back was a spacious garden.
Within. the rooms were handsomely
furnished. The studio was a large
room paneled in oak. and here 1t was
that Mr.. Shannon painted the most
noble and lovely women of England,
and more than once his own charming
wife and daughter The wonder of
it all is that his head seems never to
have been turned by his success; he
never grew complacent or careless:
his ardor and his eagerness to do bet
ter each time never ceased so long as
he lived.
EOR couple of winters, about 1906,
Mr.. Shannon came to New York
and. in studio overlooking Bryant
Park in the heart of New York,
painted American notables, among
them Mrs. John D. Rockefeller, sr.;
Mrs. Robert M. Gammell of Provi-
dence, Mrs. Herbert NJ Sears and her
daughters of Boston, Mrs. Samuel
Untermyer and others. Primarily he
may be said to have been a painter
Of women. but outstanding among his
accomplishments are his portraits Of
Josef Hofmann. Sir Henry Irving in
character. and Phil May.
An interesting thing about Shan
mons art is that he had two distinct
manners or styles-one a bit heavy
and reserved. the other light. spon-
taneous and gay. The Mother and
Child" Nady Shannon and Kitty in
the Gellatly collection, and the Girl
in Brown" in the Corcoran Gallery of
Art, illustrate the former; "On the
Dunes" talso Lady Shannon and
Kitty, at later date) and The Flower
Girl" purchased by the trustees of the
Chantry Fund for the Tate Gallery,
London. the latter. The former is
essentially in the spirit of the old mas
ters, matter of over-painting of
tonal values skillfully adjusted to give
depth and resonance. The latter is
of today, evoked no doubt by the i'm
pressionnsts' discovery of light. and
belonging to an age of action rather
than contemplation.
1t is said that Shannons portraits
were especially pictorial. and so they
are, but this is not derogatory. The
portraits of the painters of the great
English school practically all pos
sesses this distinction-and to a de-
gree it is for this reason that they live
To be sure. the interpretative portrait
which manifests character must rank
highest in the scale, but such may
we'll be Offset by environment to ad-
vantage. Shannon was undoubtedly
always motivated by a desire to search
out beauty and render it with truth.
He saw beauty in those around him,
his human relations were adjusted to
meet the requirements of his art, and
he left behind him a record of those
of his day, sincere. genuine, and not far
from the truth. He preferred to paint
those of the so-called upper classes,
and it is to these that heretofore we
have looked for light and leading.
CHANNON'S double portrait of his
wife and daughter "on the dunes"
is painted with something more than
skill and truth-love There is a ten
derness in his interpretat ton of these
faces, close together, mother and
daughter, reading from the same book,
that is very touching. And in both
Evening star., 1938-07-10

Wa shington Offers
Good Examples of
Their Painting.

utterly poor and uninspired produce
ton.
RooTH HARRINGTON. in letter
addressed last April to Represent
ative Ludlow Of Indiana, in opposition
to the Pepper Coffee bill to establish
q bureau of fine arts. largely to per-
petuate the activities of the w. p. A.
in this field, stressed the injustice of
encouraging those In the arts who are
not really exceptionally talented. de-
claring that to do SO was to increase
misery in the world. He cited his own
case. His desire was to be q painter
and he abhorred the idea Of doing
anything else. Had he been encouraged
he would. he says. have been a very
poor painter. unable to have earned
his salt. which as a writer he has done
quite handsomely and without aid.
Substantiating his contention, he notes
the fact that in Great Britain in the
late. 18th century there must have
been as many as 1000 who called
themselve artists" and of these only
a handful-Gainsborough. Reynolds,
Romney, Raeburn, Lawrence, Hoppner,
Turner, Constable and a few others
who are remembered today. "BaG art"
by the untalented many is, according
to Mr.. Harrington, an economic waste
as we'll as human peril.
But to return to Mr.. Shannon, who
was certainly not one OF these, Elisa
beth Luther Cary, for many years art
critic of the New York Times, in an
article on Progress in American Por-
traiture," published in the Common
wealth Magazine, when Shannon was
at the height of productivity, had of
him the following to say:
1T would be easy to think of Mr..
Shannon as a fashionable painter of
little depth. so adroitly does he con-
ceal the seriousness of his workman
ship beneath superficial preoccupa-
ton with the external aspect. One
needs to know him we'll to gather
from his discreet interpretations of
the personalities before him the de-
tached criticism Of the contemporary
social world that he embodies in his
portraits.
In other publications of the same
era such critical writers as Charles
Caf1in and Christian Brinton pay him
homage. The former declares his art
to be "Anglo-Saxon at its best; the
latter finds in it evidence of both aspi-
ration and observation. Both are
agreed that as an artist he was a man
Of vision. And after all that is the
artists particular prerogative. Seeing
more clearly than the majority he
opens our eyes to untold beauty.
For the moment Shannon's star may
seem to have set. but it will rise again.
More and more of his paintings will
as time passes, come into public COL
lections, and because OF their spirit
and merit his fame will be rekindled
and endure.
Evening star., 1938-07-10
By Shirley R0we.
.HE abandonment of the Barnum
and Bailey-Ringling Brothers
summer season in Scranton.

ana Balley-Rlngllng Brothers
summer season in Scranton,
L Pa, and the recent stop-over
here Of circus cars returning to winter
quarters in Florida brought a pang
to the hearts OF many art students
and artists in Washington who look
forward annually to the adventure Of
sketching at the Big Top. Artists in
sections of the country where the
circus has not yet played this season
are even sadder.
Never again select a vantage point
on a sunny May morning as the white
canvas rises into the sky and colored
banners flap in the breeze! Never
again hear. the friendly halls of the
roustabouts-"Nice day for pictures,
Ma'am'-as they go about the morn
ing's work! Never smell the sawdust
again or the animal scents or hear
the raucous yell of the barker and the
brassy, exciting music Of the band as
crowds begin to gather for the after
noon performance!
Never hear the "heeeave- no" of the
workmen Tightening the ropes Of the
big top, that fascinating mystery to
one eternally bafIled by the intricacies
of putting up pup-tent! Never see
the candy striped tents and the red
wagons, the garish side-show bills, and
the performers trailing leisurely across
the lot to take down the homely,
somehow touching. laundries Of tights
and underwear that nap on lines be-
tween the performers cars and tents!
Never again paint at the circus?
Never sketch during the performance
with so determined circus fans in
tent on having good look at and
criticizing your work. Never?
EVER since Dame Laura knight, the
English painter. published her
memoirs titled "Oil Paint and Grease
Paint" in which she told of her ex-
citing experiences as she Travelled with
the circus, painting and drawing com.
positions and sketches Of circus life
Evening star., 1938-07-10

pupil Of Cesar Thomson and Eu-
gene Ysaye in Belgium. He has
conducted concerts OF symphony Or
chestras In Cincinnati, Philadelphia,
Hartford, Syracuse and Newark, as
well as the Brussels Symphony, the
Paris Radio Symphony, and the War
saw and Posen Philharmonic Orches-
tras. Lately he has devoted much
Of his time to composition.
DOROTHY KEMP ROOSEVELT.
well-known Detroit pianist, will
be the soloist on the Wednesday even
ing program, playing the difncult and
brilliant leading part in Richard
Strauss important early work, Bur
leske." Other compositions on this
program include Respighps pines OF
Rome" Mozart's "A Major Symphony
TX. POD" and Frescobaldi's "Tocca-
ta." A special surprise group, not to
be announced in advance but to be
introduced by DR.. Kinder from the
podium, will also be played.
Mrs. Roosevelt has won high critical
praise for her performances in re-
cltal and concert. A leading figure
in the musical life OF Detroit, she has
been a champion Of the performance
OF modern music. chamber and or
chestral, in that city. She has studied
music since she was S, dividing her
attention between violin and piano.
For two years she studied the violin
under Divide Musin in New York.
Later she went to the American Con.
servatory in Fontainebleau, France,
where she studied piano under Isa-
dore Philipp. In April, 1885. she
played at one of the White House mu-
sicales, her only previous Washington
appearance.
DR.. Kinder will conduct both of
this weeks concerts and the final
concert OF the season on August II.
THE remaining concerts will be
directed by series Of outstand-
ing guest conductors. Rudolph GAM,
1ormer conductor of the st. Louis
symphony and now head Of Chicago
Musical College, will be on the podium
on July II and 20. He has been
guest conductor Of the National SYM
phony twice previously, the first time
during the summer concerts in 1895.
and again last March during the
regular winter series of the orchestra.
Victor Kolar will conduct on July "a.
Ferde Grofe will give an all-Ameri-
can symphonic jazz program on July
II. Reginald Stewart, conductor of
the promenade concerts in Toronto.
will be conductor on July 81 and
August Z. Willem van Hoogstraten.
conductor for II consecutive sum-
mers Of the Lewisohn Stadium con-
certs in New York. will be guest
leader on August 10 and IA. A
special rs-conductors program
will be given on August Z.
Tickets for today's concerts will
be on sale after II o'clock this
morning at the box office at the
Water Gate. On week days tickets
are on sale at the National Symphony
box office In Julius Garfinckel e.
Co.'S store; on Saturdays at the
A. A. A. Ticket Bureau, Seventeenth
street and Pennsylvania avenue NV.
Evening star., 1938-07-10


Association, in response to widespread
public demand. The National Capital
Parks Division of the National Park
Service is cooperating in the presen-
tation OF the six weeks series. Con-
certs will be presented every Sunday
and Wednesday night at o'clock
through August II. The orchestra
will play from q specially constructed
acoustical stage erected on . l10-foot
steel Navy barge. The stage has been
constructed by the District Works
Progress Administration on plans
drawn by the branches Of plans and
design and Of engineering of the
National Park Service. which spon-
sored the w. p. A. project.
Two American compositions. one be-
ing given its world premiere and the
other being heard for the first time
IN Washington, are on tonights pro-
gram. The former is the tone poem,
Enchantment," by John Alden
,Finckel, distinguished Washington
composer, and the latter, professional
OF the Royal Scot Guards" by Armand
Balendonck of New York. The New
World" Symphony, by Dvorak, is the
central work on the opening program.
Other works to be played are Strauss
Artists Life" waltz, Moussorgskys
Chant Russo" adapted by DR.. Kinder
from a violin and piano composition,
and the coronation scene and love
music from the same composers opera,
Boris Godunov."
Mr.. F1NCKE1., native of Washing
ton, Is well known as a cellist
and composer. His composition, En-
chantment." is the third movement
from "Springtime Suite" consisting of
three miniatures. 1t was originally
composed for violin and piano and
later arranged for string quartet. Re-
Gently he orchestrated it for full
symphony. The first two movements
are Dream Image" and Adolescence"
and each section represents a spring.
time reverie or day dream. Mr.. Finckel
has been accepted as a candidate for
the Mcdowell Colony this summer.
His compositions include two orches-
trail suites, a number of chamber
music compositions and music for the
modern dance.
Mr.. Balendonck's professional was
inspired by the coronation ceremonies
OF King George vi, which the COM
poser saw in the newsreels. After
leaving the theater," the composer
writes. "the stately steps of the Royal
Scot Guards persistently haunted me.
Soon definite melody set itself to
the rhythms of the marching soldiers.
The picture was so vivid and the
music so striking that set it on
paper"
Introduced by a roll Of military
drums, the work suggests immediate
ly the stately procession of the stall
wart soldiers in their red uniforms
and high Kolbeck headgear. Through
varying moods. but always preserv-
ing the majestic rhythms of the pro-
cessional, the work grows in COM
pactness until it reaches its climax
in a triumphal flourish Of trumpets
in the final stretto.
A violinist, Mr.. Balendonck was
Evening star., 1938-07-10
Painting Circus Animals and Acrobats Has
Long Delighted Students and Experts
of fEurope and America.

backstage and during performances,
both students and painters generally
have awakened fully to the pictorial
possibilities of the circus. Every stop
Of any size, according to circus roust-
abouts and performers. brought forth
sketchers armed with everything from
newsprint and lead pencil to full field
equipment, including the deadly easel.
The circus people were very good
natured about this invasion and
seemed to feel comradeship with the
hordes of searchers for color, provid-
ing 1t. willingly in copious quantities.
They were willing to be Of any assist
ance possible, generously providing
horse-buckets full when timidly asked
by water-colorist for "a little water"
They volunteered information about
circus life in general and waxed en-
thusiastic over Gargantua, the great
gorilla, seeming to feel that he is the
ideal subject. Finally, after exclaim-
ing delightedly over the work in prog
reSs with the innate kindness Of show
people AS contrasted to the more
hardboiled remarks from the sight
seers-they left the artist to work.
ON CIRCUS DAY they gathered.
ambitious youngsters from art
schools, who stuck to views Of tents
and flags. bolder souls who drew per-
formers and penetrated into the mys-
teries OF the horse tent, and those
courageous artists who planted them
selves in front of the side show, brav-
ing the caustic comments of loafers,
the curiosity of little boys and the
amused stares of the crowd in general.
All day they worked, the most am
bilious ones. undeterred by sun, COM
ment and incidents requiring the ut
most in diplomacy. Like the young
woman who was informed that she had
disposed self and belongings In the
parking space. shs stated that she
Evening star., 1938-07-10

was parking and paid the regular
parking rate-a form Of settling dis
putes hallowed by tradition.
Many Of the most determined re-
turned in the evening after hasty
trip home, a snatched supper and
hurried wash-up to fill page after page
with sketches at the performance. And
when the circus left after its three
day stand they compared notes and
sketches and made VOWS to come back
next year, never dreaming that there
might not be next year."
The circus has been a favorite sub
ject with many artists since Cretan,
Greek and Roman artists painted
scenes Of bull fights, chariot races and
gladitorial combats on wall and vase.
In addition, Dame Knight, Picasso,
Matisse, Laurencin and Renoir have
all drawn or painted circus subjects.
Toulouse-Lautrec has given us many
versions Of the French circus, which
does not travel, but Is 4 combination
of music hall, menagerie and stable.
His wretched or vicious looking per-
formers seem to have little in common
with the virile and healthy circus peo-
pie Of Dame Knights British caravan
circuses or our own sunny hearted per-
formers Of the American big top.
GEORGES SEURAT also painted the
French circus; but struck light
hearted note in lie Cirque" which is
in the Louvre. Predominating in reds
and yellows. this painting Is done in
a spiral composition which ascends
from the clown in the foreground to
the ringmaster and the equestrienne
atop a romping steed. to the tumbling
tumbler and spectators. It has the
exhilarating quality Americans asso-
ciate with the circus, rather than the
sinister bitterness Of Toulouse-LAutrec.
Among American painters Of the