Evening star., 1940-04-15
BY ELENA DE SAYN.

Three American composers, Roy
Harris, David Stanley Smith and
Nicolai Berezowsky, belonging to
different schools of thought yet
imbued with the same high ideal
of musical integrity, shared honors
and success at the fourth concert
of the Coolidge Foundation Cham
ber Music Festival yesterday after
noon. This performance marked
also the premiere Of these works,
the melodic contents Of which was
their chief characteristic.
Roy Harris viola Quintet" for
two violins. two violas and cello
divided into prelude, Melody, In
terlude and q Grand Fugue," gave
an Illusion Of village scene In the
first and third movements. Jolly
bits of music introduced by the
violins, were followed by an ex-
pressive cantilena in which the first
violin was heard above other in
struments. The recitativo part to-
ward the close of the first move
ment led back to the merry making
in the interlude with snatches of
familiar gigue tunes in the FORE
ground, closing with fugue, the
length OF which, while detracting
from its merits, was nevertheless
very effective At the conclusion
of the number the composer and
the players were recalled several
times. The Coolidge group was as
sisted in the presentation by Will
liam Primrose, violist.
The quartet in one movement,
David Stanley Smiths eighth, in
"A Major, Op. II" has its melodic
line concentrated in the first vio-
lin. It is like a song, a poem with
out words, the instruments merging
in a kaleidoscope change of har-
monies, rising from playfulness to
a passionate expression to find a
solution in a spiritualized effect of
sound which concludes the work
In q triple pianissimo. The lofti-
ness Of its concept, the wealth OF
melody and its mastery workman
ship deserve permanent place in
the repertoire of chamber music
groups or even that of soloist.
The rather unusual combination
OF three violins, two violas and one
cello proved a clever innovation of
the sextet by Nicolai Berezowsky,
the combination confined usually
to the three pairs of instruments.
The balance of the composition was
unusually satisfying. Written on
long line with broad beginning Mr..
Berezowsky works up his thematic
material in the finale to stupen-
dous climax. The religioso of the
'Molto Adagio" has a satisfying
fullness of tone with prominence
given to the third violin, the part
for which was in the capable hands
OF Eudice Shapiro. The work is
well written with due consideration
paid to the instruments and their
possibilities. Mr.. Primrose was
again assisting the group.
Mr.. Berezowsky had his measure
Of success. A few words must be
said Of the excellence Of ensemble in
the presentation of compositions
the harmonies Of which were 50 in
volved and difficult. Security of
pitch and a roundness of tone were
In evidence in most treacherous pas
sages. There was a notable apprecia-
ton on the part of the composers for
the manner In which their works
were presented.
Famous Harpist Scores.
For some years the name of
Marcel Grandjany, famous French
harpist. represented the criterion of
skill in the harp world and to hear
him and see his manipulation of
his chosen instrument at close range
was, indeed, an inspiration Satur-
day night at the third concert of
the Coolidge Festival at the Library
of Congress, the program of which
featured the harp in ensemble with
a string quartet, with two violins
and with organ.
OF these the most effective was
the first where he had the assist
ance of the Coolidge String Quartet
in Haendel's Concerto. The finer
possibilities Of the harp were DEM
onstrated by Mr.. Grandiany in
this performance in which his trills
matched the huency of intricate