Evening star., 1946-12-02
Ginastera Program Is Given
In Pan American Concert
By Alice Eversmon

/ LII l. ali 4 A111A11'
By AIic,
! One of the most constructive plans
/ to make known the composers OF
Latin America and their works was
/ inaugurated in the Pan American
| Union yesterday afternoon. At that
time, program sof music for piano
voice and violin by the Argentine
composer, Alberto Ginastera, was
presented by Hector Tosar, Uru-
guayan pianist, Teresa Orrego
Chilean soprano and Jan Tomasow
concertmaster of the National SYM
phony Orchestra.
The composer is in this country on
a Guggenheim Fellowship and was
present yesterday. DR.. L. S. Rowe,
director general of the Pan Arineri-
can Union, introduced him to the
audience after welcoming the Inter
American Commission OF Women
who are beginning their annual Ses-
sion here and in whose honor the
concert was given.
All of the numbers heard yester-
day demonstrated Mr.. sGinastera's S
individuality of approach in making
the piano an instrument of great
descriptive potentialities. He could
have no finer artist to bring out
their inherent qualities than Mr..
Tosar, who is pianist OF rare dis
tinction. He was considered the
child prodigy of Uruguay both IN
performance and in composition
and now, at % years of age, is one
of the leading artists Of the young
generation in Latin America. A
program of his own works viii be
given in the near future.
While Ginastera has a mastery
writing technique of arresting
power, his artistic sensibilities stand
out in the simpler and more poetic
works. In the two piano numbers,
GUYANA" and "Nortena," in Ell
Mediodia" of the song group, LAS
Horas de una Estancia," in Trieste"
for violin and piano and in several
of the "Doce Preludios AmerlcanoS,
he creates with a slight touch ex-
traordinary depth of mood or vivid
ness of atmosphere. His tone paint
ing is achieved by an unusual sepa-
ration of theme and background. In
the violin and vocal numbers, the
accompaniment is disassociated
from the solo instrument creating
it's own atmosphere out of which
the soloist emerges with a simple
defamation of striking effect. 1t is
effortless writing, neither complex
or elaborate, but telling in its poetic
significance.
On a broader scale, as In the
"Doce Preludios Americanos," he
has a condensed style that Is OF
closely knitand dramatic color. The
brilliant Para los Acentos" and
para las Octavas," the remarkable
treatment of the pentatonic minor
and major modes in two numbers,
offered strong contrasts to the
more lyrical Pastoral and "Triste. :"
He is a composer with vision and
fecund imagination and an indi-
vidual appreciation OF the modern
idiom. Nearly all of the numbers
on the program had as foundation
the songs and dances OF his country
and while they set alight the fire
of his inspiration, the quality and
resources of his genius also was
illustrated in the diversity of his
expressive means in the works in
tribute to Roberto Garcia Morillo.
Juan Jose Castro. Aaron COPELAND
and la-Lobos which forned part
of the ''Preludios.
Mr.. Ginastera's songs require the
gift of absolute pitch for a singer
to sing them at all for the melodies
are divorced completely and often
go counter to the accompaniment.
Miss Orrego showed 4 herself
musician of sound training and her
performance was completely in
sympathy with the poetic text. MIR.
Tomasow, whose many years in Ar
gentina gave, him a particular un-
derstanding of the rhythm and
style of the folk music, played the
group of songs and dances arranged
for violin with sensibility and beau
ty of tone. The dominating figure
of the program, however, was Mr..
Tosar, whose playing both as soloist
and accompanies was brilliant.
Shure Performs at National Gallery.
Piano playing of a superlative
order was presented by Leonard
Shure last night in the National
Gallery OF Art. His pianism is con-
centrated on Interpretation and SO
keen is his feeling that it has
reached degree of perfection that
leaves little more to be desired. The
excellence of his mechanical equip
ment is secondary for it is submis-
sive to his highly cultivated intel
lectual and emotional understand
ing.
The weH-worn Schumann "Kreis-
leriana" took on an engrossing as
pect as he played it and in the
wealth of beauty with which he in
vested it, its length was forgotten.
In balance of mood and in the
sentiment directing the fine sculp-
turing of phrases, it was inbued
with an entirely fresh spirit. His
playing also of Debussy's "Ondine"
and "Feux d'artifice" could be
models for other artists who have
not studied the same approach to
music Interpretation that Mr.. Shure
seems to possess naturally.
Young John Randalfs "Sonata" !"
was given its first performance here
and much of the impression of its
musical value was due to the art
lists presentation. Not an iota of its
possibilities was overlooked in the
sensitive treatment Mr.. Shure gave
it. That here is talent of great