Evening star., 1944-12-04
Margaret Sheridan
Gives Program at
National Gallery
BY ELENA DE SAYN.

A well-chosen program, contain
Ing the necessary variety of styles
and nationalities to lend it color
and distinction, was presented last
night by Margaret Sheridan, So
prano, at the National Art Gallery.
The singer was assisted at the piano
by Harrison Potter, who was also
heard in group Of soil.
Endowed with a lovely lyriuue
voice of bird-like purity, Miss
Sheridan pleased the audience by
her singing of "Invocazione de Or
feo" from Peri'S "Euridice," revised
by Florida; Falconieri- Florida S
"Occhietti Amati," Dowlands "Fie
on this Feigning," Reinagle's charm
ing Il Have Silent Sorrow" and
Hopkinson's my Days Have Been
So Wondrous Free" all five of a
classic nature, belonging to the 18th
and 18th centuries.
There was more opportunity for
direct appeal in the French group,
which challenged the singers inter
pretative ability. 1t consisted of
Ravels "Nicolette," representing the
French idea of Red Riding Hood, "
Paulin's refreshing "Avril Pose Ses
Pieds Lents," Debussy's familiar
"Mandolines," Respighi's "Pioggia" +"
and dramatic I'm Alto Mare" All
of these songs were notable for
their fiattering piano accompani-
ments, which Mr.. Potter played
with pianistic skill and f1uency.
While Miss Sheridan sang freely
with great deal of assurance and
giving proper character to each
selection, she is not an aSsertive
singer. Her delivery, with its al
most instrumental accuracy as to
time, her never pausing for prep
aration or deep, long breath to
achieve greater declamatory ef-
feet, created an impression of her
being dominated and hurried along
by her collaboration at the piano.
Mr.. Potter, whose fuency and
sympathetic touch furnished an ad-
mirable background for the voice
played four pieces: Scarlatti'S
Sonata in D Major" Ga Chasse)
Rossi's 'Andantino,' Marion Bauer's
"Ostinato" and GabriloWitSCh'S
Caprice -Burlesque." He was at his
best in the last two. the atonal har-
monies of the "Ostinato" acquiring
'raison d'etre" and Gabrilo-
witschs pleasing salon number of
the observation-disclosures era,
confirming his elasticity and his
facile technique.
Miss Behrend Gives
Racit,I in Affernnon
The afternoon piano recital of
Latin American music by Jeanne
Behrend at the Pan American
Union, brought forth much of inter-
est from, the pen of our Latin neigh
bors.
A young American virtuoso and
composer, whose Country Dance"
from "Sonatina" found much favor
yesterday with the large audience
which filled to overfioWing the Hall
of Nations, Miss Behrend has scored
many honors in both fields.
Her playing speaks of an analytical
mind, of her perfect familiarity with
the modernistic idiom and of tech
niQue which leaves nothing more to
be desired.
Touching upon the music of Peru,
Mexico, Cuba, Venezuela. Chile,
Brazil, Argentina and the United
States, Miss Behrend paid possibly
the greatest tribute to Brazil and its
composer Villa-Lobos,
second to none in originality and
distinction of form. Simple folk
melodies, dressed up by him, such
as the Three Girandas," the Three
Maries," lovely in their simplicity,
and "Ciclo Brasileiro, Nos. and 4"
"Plantio do Caboclo" and DANA do
Indio Branco," noted for their etfec-
tive use of the left hand for me-
lodic sonorities become master
pieces. The only American COM
poser on the program besides the
artist, was Roy Harris, whose
Bells (from Little Suite) repre-
sented him in lofty mood effec-
lively captured by Miss Behrend.