Evening star., 1946-09-30

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yesterday afternoon, were not dis
appointed at hearing and seeing so
many talented and attractive young
women, a number of whom are gift
ed in more ways than one.
Gowned in white, the only orna-
ment being glittering spray of
pink flowers on the flowing skirt,
and grouped effectively on the
stage, the girls presented indi-
viduaily and collectively a colorful
picture. The concert preceded a
broadcast which marked the orches-
tra's debut over a new station.
An experienced Snowman, Mr..
Spitalny has worked out his pro-
gram in every detail. 1t is enter
tanning, of abundant variety and
shows off the quality of his person.
mel. His medleys, intended to bring
out one or another group Of his
ensemble, are interspersed with
either vocal or instrumental solos.
These are not confined to featured
soloists alone, but give occasional
prominence to members of his or
| cheStra.
The star of his company is unques-
tionably Eleanor Fine, an unaSum-
ing young pianist with an amazing
technical fuency, to say the least.
One became conscious of her rip
pling passages in a version Of Rim
sky-K -Korsakoff's "Bumble Bee, -
played in an ensemble with three
vocalists. Since it was impossible to
understand Mr.. Spitalny's mufned
announcements, with the exception
of Scarlatti's Sonata in A Major,
it really did not matter much what
Miss Fine played, for whatever she
did showed her exceptional en-
dowment.
Viola Smith, energetic and skill
full, was the percussionist whose in
terlude was fully enjoyed, as well
as the playing of Phyllis Clendem-
ming, trumpetist, who performed
intricate variations on a Russian
folk song. The singing Of youthful
jeanne Jennings, the attractive new
soprano soloist in debut with the
Spitalny group, was especially pleas
ing in the Bach-Gounod ave
Maria" sung to the ~musically in
terpreted harp accompaniment by
Oeanne Muenger.
Everybody knows that it takes
many more years to learn how to
play the violin than to sing Evelyn
Kaye, violinist, had not only many
years of study but received encour-
aging awards and had a brilliant
radio career. The fact that she left
out perilous harmonics and passages
from her abbreviated version OF
Sarasate's Gypsy Airs" her solo
or had recourse to mannerisms, did
not detract from her sound musical
foundation or ability.
Possibly, because of an imperfect
reception over the house micro
phone, the lower string of her violin
sounded hollow, although powerful
with the others thin, almost in
audible. The entire impression OF
her playing was much better in the
Denicu-Heifetz "Hora Staccato,'
presented in unison with the entire
violin section. While eliminating
the fancy down-bow staccato and
variations of the air, the ensemble
gavesan excellent reading for tone
steadiness and accuracy.
AS unit, the entire Spitalny
group shows splendid discipline with
the effect of spontaneity and ami
nation.
Howard Mitchell Performs.
The cello recital of Howard
Mitchell at the National Gallery OF
Art last night, introducing Piati-
gorsky's Variations on a Paganini
Theme" permitted him to be heard
in virtuoso capacity.
The selection, consisting OF some
16 variations on the familiar theme
which inspired several composers
covers the cello technique from the
lowest to the highest register thor
oughly. Possibly, the first cantabile
variation and those in the spirit OF
Corelli or Brahms, were the most
pleasing. For distinction and orig
inality No. 6 and II rate high. On
the whole, however, except for the
interest which novelty afforded
one may prefer to hear Mr.. Mitchell
in such numbers as Haydns "Di-
vertimento" or Beethoven's Sonata
No. 4, C Major, op. 102, No. l." the
latter with its mingled element OF
loveliness and mysticism contrasted
with surprising roughness.
While one admires Mr.. Mitchells s
technical prowess, his forte lies on
the interpretative side, as illustrated
tellingly by such numbers as Howe s
'Patria" and Respighis "Adagio-
Lento a fantasia" on yesterday S
program. Mr.. Mitchell was assisted
at the piano by Sol Sax.
Recital at Phillips Gallery.
A thoroughly enjoyable recital was
given yesterday afternoon by Sidney
Forrest, clarinetist and Faith For
rest pianist, who presented a choice
program at the Phillips Gallery
Brahms Sonata in E Flat Major
op. 120 No. O." recently heard sew
eral times in its viola version; De-
bussy's premiere Rhapsodie," a
brilliant work foreshadowing some
of his later opuses, and a movement
from Daniel Gregory Mason's