davidaulloa/AmericanStories huggingface dataset:
Evening star., 1941-03-02
Recital at Institute

washington Musical Institute,
173o Sixteenth street NV, pre-
sents the senior and graduate de-
partment in recital on Friday eve
ming at $3.50 o'clock. Those inter-
ested are welcome to attend the re-
cital. Appearing on the program
will be Lucy Buckman, June Rob-
inson, Dorothy Russell Todd, Dor
othy Sornborger, Winifred Cham
berlain, pianists; Betty Lee Fox,
voice, and Virginia Roberts, vio-
lin. Gertrude Kroto will accom-
pany Miss Fox.
The following pupils also took part
IN several previous programs OF
the institute this year: Marion
King, Margaret Stockett. Hope Hut
son, Charles Conrard, Shirley Rus
sell, Mary Lou Anderson, Gwen
dolyn Warren, Gloria Chandler,
Everett Hitchcock, Helen Shenton,
Edwin P. Prereton, Adelaide Kim
cheloe, Dolores Marie, Barbara
Stellwagen and Mary Van Allen.
In the preparatory department
were presented Patsy Wolf, Mary
Jane Rawlings, Roy Van Norman,
Mary Patricia Schwartz, Amelia
Blaser, Barbara Hunt, Elna Wei
man, Alice Marie Fravel, Billy Nor
wood, Barbara Mumper, Charley
Moncure, Roberta House, Betty
Keene, Lois Marr, Patricia Trimble,
Margery Marston, Billy Kroll, Jane
Hibbs, Dorothy Beckwith, Susan
Alberton, Helene Mullenberg and
Marjorie Rhodes.
Evening star., 1941-03-02
Organists to Play
Annapolis Program

Through the courtesy of Chap
lain William Thomas and Joseph
Crosley, professor of music, United
States Naval Academy. the District
of Columbia Chapter of the Ameri-
can Guild of Organists will be
hosts to about go members of the
Chesapeake Chapter at the Naval
Academy Chapel tomorrow at 7:30
pm.
The choral music for the service
will be sung by the Academy Choir,
Prof. Crosley directing. The organ
recital, which will take the place
of the sermon, will be played by
Conrad Bernier, head of the organ
department at Catholic University.
The service will be followed by an
informal buffet supper for all the
guests at the Naval Academy OFF,
GERS Service Club. The local chap
ter members will go to Annapolis
by private automobiles, leaving
about pm. according to an
nouncement by Ruth r. Vanderlip,
dean.
Evening star., 1941-03-02
Symphony Features

In connection with the unusual
works programmed by the National
Symphony Orchestra DR.. Marion
Rous, who lectures for the New York
Philharmonic-Symphony, will pre-
sent two symphonic forecasts in the
month of March in the series already
initiated in the Textile Museum,
1880 S street NV.
On Tuesday afternoon, March IL,
at o'clock, Mahler's Song of the
Earth" inspired by ancient Chinese
poems, and on Saturday afternoon,
March %, at the same hour, Sibelius'
sPohjola's Daughter" based on a
dramatic episode in the Finnish
folk-epic, the Kalevala, will be
treated. Both works will be per-
formed by the National Symphony
the day following the forecast.
Evening star., 1941-03-02

In distinguished circles (estrados)
music was taken up with delight.
That Is to say that the old Span
ish customs marked the rhythm of
our colonial life, and imprinted
character on it. 1t was inevitable
and, undoubtedly, beneficial.
In the final days of the colony
(this means, of course, here colonial
lifeO, at the time of the Revolution
for Independence, we are surprised
to learn that many of our greatest
patriots and even the founders of
the republic, were enthusiastic music
fans. The Carrera brothers and the
supreme director"-don Bernardo
O'Higgins-were players" in their
hours at ease. 1t is curious to note
also that some composers of the first
water, Beethoven, for instance, were
known in Chile-though they were
living in Europe, before the sum of
glory (almost always the sun of the
dead) rose to illuminate their mem
ory for them =.
And the evolution continues! At
the beginning of 1923, dona Ysidora
Zegers y Montenegro. grand dame
and superb singer, arrived in San
tiago-born in Madrid the 1st of
January, 1903. Her genealogy
entwines a distinguished family of
Flemish painters. the Seghers, later
settled in France" In Paris, whose
doors were opened to her after the
Bourbon restoration Of Louis
XVIII, she studied music with the
famous Italian maestro-Federico
Massimino. But the father of dona
Ysidora Zegers y Montenegro Is
contracted by the government of
Chile, and the daughter accompanies
him in his voyage to America. The
damsel remains in our country.
There, she marries twice, first with
the Col. Guillermo de Vic Tupper, of
French origin, who dies in the battle
of Lircay and, later, with don Jorge
Hunneus. Love leaves her in our
country, to our gain!
Edited Music Weekly.
Dona Ysidora Zegers y Monte
negro has been the great animator
of Chilean musical activities in the
last century. She founded the Phil
harmonic Society and edited, in
company with other composers of
Chile, a music weekly. She was in
possession of valuable library of
300 original editions, bound, more
over, with great richness and of
great service to the artists, thanks
to her gracious spirit. She also
imposed on Chile the influence of
Rossini, whom she admired all her
life. She contributed to the forma-
ton of a means in which the music
of opera would widely triumph.
This tendency was maintained, in
the general direction of the studies
and in the public taste to the be-
ginning of the present century.
But, everything is transformed in
this changing world, just as, right
here, every afternoon Constantine
Brown says. The predominance of
Italian lyricism is gradually disap-
pearing from our artistic culture,
and to this evolution, we must refer
at another time. 1t marks an in
disputable progress.
Evening star., 1941-03-02

The musical profession is full of
Would-be artists who pay for their
appearances, who invest heavily in
lavish advertisement, and who use
unscrupulous men of influence, will
ing to forward them for a price.
This is not a pleasant side of the
great profession of music, but it is
one that every artist discovers some
time or other in his career.
Clever Publicity.
1t is almost impossible to Judge
of the real ability of a concert
artist by reading his advertising
material. This can be so cleverly
set together that only adjectives
of praise remain, although in the
original they have been lost in the
amount of adverse criticism. One
cannot blame those who sponsor
concert series for sticking to the
tried and true and bringing back,
year after year, the artists whose
box office value is assured. But this
erects an impenetrable wall that the
neophyte in concert giving cannot
hope to break through, unless he
has luck on his side. The only
other way open to him is to pay and
pay until he has made the impress
sion that will eventually open the
door for him.
The difficulties that stand in the
way of a new artists becoming
known have been recognized by va
rious organizations, and they have
tried to form a proving ground and
make their sponsorship be guaran-
tee of value. But even so, the per-
nicious effect of paid advertisement
is hard to combat. Musical maga-
zines and musical managers must
have incomes to exist, and they can
not afford to turn down fair talent
with money to spend in favor of
some one with greater ability who
might need years before his con-
certizing brought in real monetary
return. 1t is discouraging to those
hoping for a career to see the
amount of publicity given to sec
ond-rate musician while they remain
unrecognized, but until some one has
tackled the problem and found some
solution the practice will continue.
In the meantime, the readers should
take the lavish publicity which many
artists receive with grain of salt.
Evening star., 1941-03-02
Two Stars
Appear With
Mr.. Van Loon and
Miss Castagnetta
Heard Today

Hendrix Willem Van Loon, the
writer, and Grace Castagnetta, the
young American pianist, will Join
forces with Hans Kinder and the
National Symphony Orchestra this
afternoon at o'clock in Constitu-
ton Hall to present the second con-
cert in the orchestra's special series,
On Wednesday evening, the Ma
tlonal Symphony, under DR.. Kinder,
will give concert of hitherto un.
performed American works for ths
members of the orchestra associa-
ton at 8:45 o'clock in the audi
torium of Woodrow Wilson High
School.
Fittingly-since Mr.. Van Loon and
Miss Castagnetta have just collab-
Grated on biography of Johann
Sebastian Bach-the entire first half
of this afternoons concert will be
devoted to the works of that com.
poser, with Mr.. Van Loon appearing
as commentator and Miss Castag.
Meta playing the solo portions in
the ID Minor Concerto" Miss CAS-
tagnetta also will be heard on the
second half of the program in
Dohnanyi's Variations for Piano
and Orchestra"
Young and diminutive, Miss Cas-
tagnetta was born in New York Citv
and received her earliest musical
training from her mother. After
graduating with highest honors in
piano and composition from the
Hochschule fuer Musk, she made a
tour OF the then peaceful German
cities and returned to New York for
a highly successful Town Hall debut.
She has since been heard as soloist
with the New York Philharmonic.
and with the symphonies of Port
land, Greg; Bridgeport, Conn, and
other cities.
AS result Of an allBrahms serieg
which she presented over the Co.
lumbia Broadcasting System, shs
received fan" letter from Mr.. Van
Loon that led to their eventual col.
liberation. Together they have pub.
hshed five song books, with a sixth
on its way. A few weeks ago their
latest opus was introduced and en-
Enthusiastically hailed as a new and
refreshing departure in the field Of
biography. 1t is THE Life and
Times Of Johann Sebastian Bach"
and consists of a complete book
about Bach by Van Loon and an
album of four Victor records Of
Bach's music played by Miss Cas-
tagnetta.
Todays will be the second appear
ance with the National Symphony
for both Miss Castagnetta and Mr..
Van Loon. The latter made his
debut with the orchestra last sum-
mer when, at one of the Water Gate
concerts, he not only appeared as
commentator but sat in as fiddler
with the second violin section.
Wednesdays concert, which will
be open to members of the National
| Symphony Orchestra Association
only, will be composed of works sub
mitted in the contest for American
composers that DR.. Kinder held
last fall.
Evening star., 1941-03-02
By Elena de Sayn.

verdi's Requiem Mass" stands
in class by itself for its extraor-
dinary beauty and grandeur even
if the character of its music IS too
vital and colorful to be identified
with the church. Recorded in Rome
by the Royal Opera Chorus and
Orchestra under Tulio Serafln and
issued by Victor Co. recently, this
work is without peer. The enSem-
BILE with Beniamino Gigh, tenor;
Ezio PIMA, bass; Maria Caniglia,
soprano, and Ebe Stignani, mezZo-
soprano, as soloistS is unusually
fine. The last two singers, al
though not well known IN the
United States, are nevertheless
worthy of being named in the same
breath with the men for the beau
tiful quality of their voices and
manner of presentation.
Before the advent of this particu-
lar Requiem Mass" Verdi had al
ready experienced an inner urge to
compose one. When Rossini died he
suggested to his publisher that all
leading Italian composers should
collaborate to the extent of writing
one movement each of a work to
commemorate the great and popu-
lar composer. He also suggested
that the score should be kept in
the city archives, to be produced
whenever a significant occasion
should warrant it. However, as
there was a dissension on the part
of the performers. who refused to
donate their services, this attempt
was frustrated.
When Manzoni, Italy's great poet
and Verdi's personal friend, passed
away, five years later, the famous
composer took matters into his own
hand and, offering to write the work
alone, secured the best available
talent to perform it. 1t was in May
of 1874, year after Manzoni's
death, that the Requiem" was
heard for the first time and pro-
duced a deep and lasting impress
sion in spite of bitter criticism of
its worldly idiom,
Evening star., 1941-03-02
Baritone to Give
Recital at Club

A recital, sponsored by the Angus
tana Lutheran Church Choir, will
be given by Clarke A. Paulsen, bari
tone, tomorrow at $3.50 pm. at the
Women's City Club, 736 jackson
place, NV. Mary Carney will be
at the piano.
Mr.. Paulsen, a former resident
of Denver, Colo, has been studying
voice for the past year and a half
at the Peabody Conservatory of
Music in Baltimore. Since coming
to this city he has sung with the
Augustana choir and is now singing
at st. Johns Church. For two sea-
sons he sang leading roles with the
Columbia Light Opera Co. of this
city, starring in THE Geisha" ano
"The Red Mill" The past summer
and fall he has appeared before
many local business and social clubs
This is Mr.. Paulsen's first appear
ance as solo recitalist. He j!
scheduled to give other recitals ir
Baltimore and Richmond. On SUM-
day, March 9, he will sing at tea
given by the Women's City Club
Evening star., 1941-03-02
Added to Faculty

The Dmitrieff Studio, 56l2 Con-
necticut avenue, announces the
addition to its faculty of Prof.
Nicolas Avierno, who will conduct
classes in violin, viola and will coach
ensemble work. Prof. Avierno is the
former director of the Imperial
Conservatory in Russia and head of
the violin department in the Moscow
Conservatory. Fritz Male, a regular
member of the faculty of the
Dmitrieff Studio, will continue to
give weekly instruction in violin.
Another newcomer to the faculty
is Nine. Halka Ricci, who VIII give
instruction In voice. Nine. Ricci
has sung prima donna roles with
the New York and Chicago Opera
companies in America and has made
appearances In Vienna, Prague,
Budapest, Bratislava, Milan and
Rome h Europe.
Evening star., 1941-03-02
Recital Here
To Be Given
By Tibbett
Grace Moore Also
One of Coming
Artists

Lawrence Tibbett, celebrated
American baritone of the Metro
politan Opera Association, comes to
Constitution Hall on Tuesday eve
ming at $3.50 o'clock for his only
recital appearance of the season in
Washington. Mr.. Tibbett's will be
the first of three notable March
recitals to be given at that audi
torium under the management OF
Dorothy Hodgkin Dorsey.
Mr.. Tibbett, who will be assisted
at the piano by Stewart Willie, will
open his program with Beethoven's
at Love Thee" and the recitative
and aria, Arm, Arm, Ye Brave"
from Handels Judas Maccabeus."
He will follow this with group
of four songs, Brahms 20, to Be a
Child Again; Hugo VOLTS while
Tramping" and Fare Thee Well"
and Schuberts "The Omnipotence."
Mr.. Willie will play three piano
numbers: Debussy's la Terrace
des Audiences du Clair de Lune,"
the Bach-Warren "Bist du bel mir"
and the Bach-Siloti prelude From
Cantata No. 35." Mr.. Tibbett will
sing the "Eri tu" aria from "The
Masked Ball" to close the first half
of the program.
After intermission Mr.. Tibbett will
sing two groups. of songs, the first
consisting of Elinor Remick War
ren's Sailing Homeward," Edward
Harris Prayer and Question"
Charles Naginski's THE Pasture"
and Carl Loewe's "The Erl King"
His second group will consist Of
two Rachmaninoff songs, ITO the
Children" and THE Isle";; Nous
sorgskys My Little Room" and
Richard Hageman's Miranda"
On Sunday afternoon, March o,
at 4 o'clock, Mrs. Dorsey will pre-
sent, for her only Washington re-
cital this season, Grace Moore, the
eminent American soprano of the
Metropolitan Opera Association,
while on the following Sunday,
March 16. also at o'clock, Mrs.
Dorsey will bring to Constitution
Hall for his only recital of the
season in the Capital, Vladimir
Horowitz, sensational Russian pian-
ist. who returned to the American
concert stage last season.
Evening star., 1941-03-02
POPULAR Music

Raymond Scott laments the sew
erance of relations between Cootie
williams and Duke Ellington with
a number called when Cootie Left
the Duke" but he isn't altogether
serious about it. Scott fashions the
piece along traditional Ellington or
chestration lines and his trumpetist
Stimulates the celebrated Coot, all
with seemingly good intentions in
the opening measures. But then
the Saxes commence to get sirupy-
thick, the brasses fall off in few
sour dips and "Cootie's" trumpet
mysteriously develops a babbling
quality. The overall effect is
heightened by the straight-faced
restraint of the band and the per-
formance adds up to the clevereSt
job of burlesking in a year of take
offs and counter-take-offS Tommy
Dorsey's you Might Have Belonged
to Another" prize winner of one
of his radio shows, reveals a very
pleasing melody at its best through
Vocalists Frank Sinatra and the
PiperS. Another contest winner on
the reverse, "Oh Look at Me Now"
is from hunger. Xavier Cugat
gives his suave touch to the incest
Latin tune to travel north since
'Frenesi," "Cuatro Vidas blue
Echoes. Les Brown does two
solid swing numbers on separate
discs, Anvil Chorus" Zone side
only and dig It. the hit from
Second Chorus" Larry Welk pops
the cork on another champagne
Music" version, You're the Cream
in My Coffee" Dissatisfied with
his first recording of Until To-
morrow" Mr.. Kaye and Victor
snapped a few Camden precedents
to issue a revised edition. Take
your pick; it's a lovely song either
way. Dick Jurgens' MY Silent
Love" and Night and Day" would
have been first-rate material had
Vocalist Harry Cool toned down on
the vibrato.
Will Bradley runs a good thing
further into the turf with his
Chicken Gumboog (ie)," although
his "Stardust" can keep company
with the elite in the vast Star
dust" library. Benny Goodman's
Gone With What Draft" is the
second in a series, with Gone With
What Mozart" probably next in
line. Mitchell Ayres' "Wishful
Thinking" Jenny" and This Is
New" sidings are pleasant enough
but show need for variation OF
style. The Hoosier Hot Shots with
their assorted hardware employ
typical antics on Tiger Rag" and
Everybody Loves My Baby" On
four 12-inch Decca slabs Ruby New
man and his society brand of music
are presented in song collection
motley as . smorgasbord. Titled
Evening star., 1941-03-02
Concert Schedule
TO-DAY.
TO-DAY

1ODA Z.
National Symphony Orchestra,
DR.. Hans Kinder, conductor;
Grace Castagnetta, pianist:
Hendrix Willem Van Loon. COM
mentator; Constitution Hall, 4
pm.
Josephine Fulcher, soprano:
Marguerite Pope, contralto;
Stephen Gray, tenor; Harry
Yeide, baSso; Sunday Music
Hour, Y. w. c. A, 5 pm.
Louise Matter, soprano; Ennel
Billings, violinist, assisted by
male quartet; Universalist Ma
tional Memorial Church, 4:3o
pm.
Pro Music String Quartet,
1929 G street NV, $50 pm.
TOMORROW.
Todd Duncan, baritone. song
recital; Howard University, $50
pm.
Clarke A. Paulsen, baritone,
song recital; Women's City Club,
$50 pm.
Ellen Nelson Barnes, piano
recital; L. D. S. Chapel, 8 pm.
TUESDAY.
Lawrence Tibbett, baritone,
song recital: Constitution Hall,
$3.50 pm.
Navy Band Symphony Or
chestra, Marine Corps Audi
torium. BIS pm.
Army Band, Army War Col
lege, 2::30 pm.
Soldiers Home Band Orches-
ira, Stanley Hall, $50 pm.
WEDNESDAY.
Marine Band Symphony Or
chestra, Marine Barracks, 8::l5
pm.
D. Sterling WheelWright,
organ recital; L. D. S. Chapel,
8 pm.
THURSDAY.
Nine. Rita Rozada, song re-
cital; Arts Club, $3.50 pm.
Felian Garzia, pianist, benefit
recital; Women's City Club, $50
pm.
Marine Band, Marine Bar
racks, 2::30 pm.
Soldiers Home Band Orches-
ira, Stanley Hall, $50 pm.
FRIDAY.
Friday Morning Music Club,
Nine. Nadia FAM d'Aulby. So
prano; Dorothy Radde Emery.
pianist; Barker Hall, 1880 am.
D. Sterling Wheelwright,
organ recital; L. D. S. Chapel,
8 PM
SATURDAY.
Budapest String Quartet,
Library Of Congress, ais pm.
Junior Division, District Of
Columbia Federation Music
Clubs; Y. w. c. A., 8 pm.
Army Band, Army War Col
lege, 11:30 am.
Soldiers Home Band Orches-
ira, Stanley Hall, $50 pm.
Evening star., 1941-03-02


These are don Domingo Santa Cruz
Wilson, deacon of the faculty Of
bellies artes of the University of
Chile, in charge of music study; the
critic, don Carlos Humeres Solar,
and others. They are here as guests
of this hospitable country of yours.
The development of music in
Chile-across four centuries-has
been, 1t can be said, surprising.
The work of Prof. Pereira Salas
reads like an agreeable looking back
on things passed. His pages guide
us, without effort, to the long ago,
and constitute, without doubt, the
first really solid force in the estab-
lishment of an evaluation of Chilean
musical culture. His book, edited by
the University of Chile, may be di-
vided into two parts. In this first
part we find a detailed and happy
tale of the life, customs and the
first musical creations, from the pre-
Columbian epoch up to the founding
of the National Conservatory of Mu-
sic, at the middle of the last century.
There are 16 chapters in which the
surging detail evokes, exalts and
animates the truth of historic
events. Pereira writes with SIM
plicity.
Back to CONQUEST.
When did our musical history
really begin? Prof. Pereira Salas,
backed by his prolific Investigations,
Is Of the opinion that 1t goes back to
the days-now far away-of the
Conquist. With the Conquistadores
themselves had arrived in Chile the
first musical or semi-musical sounds,
in the 'trumpeters" who accom-
panied the brave soldiers from
Spain. The writer also considers
that the Conquistadores relived,
through the medium of music, their
past in the far-away fatherland.
In the artistic aspect the life Of
the colony did not differ from other
activities. In the 17th century of
conquest and struggle the Spanish
influence is predominant; the &C.
clesiastic stamp is sensed as the
one preferred. This was not peculiar
to Chile, but happened in all the
lands conquered and civilized by
Spain. The sword and the cross
were then marching hand in
hand. In the following CEN
tury, it should be noted, a happen
ing of extraordinary importance
took place and is a starting point:
the slow penetration of instrumental
music. At that time some musical
instruments arrived in Chile, the
"claye" (clavichor6, which later
underwent various changes until it
evolved into the Colonial" piano of
our grandmother little piano "of
reduced scale"
But now the musical functions
acquired a somewhat sumptuous
character, in the salons, in the IA
nous 'tertulias" (small intimate
gatherings), on civic holidays and
in the temples. The religious COM
munities contributed efficiently in
all these activities. They set aside
part of their funds for it. The an
niversaries of the royal family, gov
ernors taking over Office, were all
celebrated with true TeaD concerts.
Evening star., 1941-03-02

wonders at the amount of money
invested in advertisement, at the
superla tives used in describing the
talent of comparatively unknown
musicians, and the general ballyhoo
that apparently must accompany a
concert career. 1t brings forth a
side of the artistic life that is thor
oughly commercial and which, in
this country, unfortunately, is the
way in which the public cages the
value of its concertlzing artists.
There is no doubt but that only
through advertisement can an artist
hope to build his future either in
the field of concertizing or as a
teacher 1t is, unfortunately, not
enough for a musician to develop
his talent thoroughly and to know
that his friends or immediate circle
of acquaintances recognize it and
have faith in his ultimate success.
The question of how to be launched
on a public career is an important
one, and many an artist has never
been able to recover his prestige
after a careless beginning. This
all costs money and a great deal
Of money, and it is almost impos-
sible for an aspiring musician to
hope for spontaneous and wide
recognition unless he personally has
the funds to promote himself or can
get some wealthy patron to back
him.
Buying Attention.
The expenditure of money does
not end with a successful debut and
the interest of managers. There
must be a follow-up program that
means really buying the public's
attention, until such time as it is
convinced of the ability of the artist
and is anxious to hear him at all
costs. There is never a time, how
ever, that an artist can abandon his
publicity campaign, for such is the
temper of the public that it believes
what it reads, and the names most
often in the musical magazines and
in the newspapers will be the ones
it will remember.
Much abuse can result from ad-
vertisement. Some one with a great
deal of money to spend can buy
his way to a certain amount Of
fame, even though staying at the
top results only from true merit.