Evening star., 1947-03-10

4
ican Union. In the Unions Hall OF
the Americas, the Brazilian COM
poser, Camargo Guarnieri, was pres
ent yesterday afternoon to assist In
the presentation of his compositions
given by Eunice de Conte, violinist
and Lidia Simoes, pianist, both Of
Brazil; Nicki Ga1peer, soprano. and
Carleton Sprague Smith, hutist, of
the United States. John Kirkpat-
rick, in the National Gallery, played
piano program of works by North
American composers covering nearly
100 years.
The concert in the Union was the
second in the plan to make known
the works of prominent composers Of
Latin America. Guarnieri is one of
the foremost of modern Brazilian
musicians and one who has broad
ened the scope of writing consider
ably. The program yesterday gave a
comprehensive view Of his style and
idiom and its usage in various med
iums.
Permeating all that he writes are
the essentials that distinguish the
folk music of his country. The in
spiration so received has led him to
original treatment OF rhythm and
melody that gives them more sub
stance and lifts the national element
to an art level. In his skillful har-
monic Intervening and in the
breadth of his design, he has re-
tanned the forceful and spectacular
as we'll as the tender and ritual
istic components Of native express
sion.
In the instrumental numbers, these
were most prominent in the "Impet-
uoso" movement of the violin "Son-
alta No. q" in the dance rhythms of
the "Saltitants" Of the "Sonatina =
for flute and piano, in the colorful
'rMelancolico" of the same work and
in the folk song theme of the piano
"Sonatina No. g." His style is acrid
for the most part, especially in the
output of the last years, but he has
a Debussyan aptitude for tone paint
ing as in the second movement of
the violin sonata. In the piano COM
positions of the early sos there is a
more imaginative quality reaching
dramatic power in "Choro tortur-
ado" One of the loveliest Of the
piano group was "Toada" composed
in 1929.
Guarnieri has brought consider
able esprit into his song writing
and the numbers sung by Miss Gal
peer contained such contrasts as
the charming "Vai, azulao'' and
'Tristeza," the latter showing of
the singers fine high tones, the
patter-like "Quebra COCO, menina"
and another gay song substituted
for "Mof1dalofe. The folk motif
is more apparent In the vocal num-
bers, all of which had an instant
appeal.
The composer was at the piano
for the performances of Miss Gal
peer, Miss de Conte and Mr.. Smith.
Miss Simoes, a student OF Guar
nieri's, has thorough understand
ing of his style and ample technique
to demonstrate 1t. Miss de Conte
is violinist with authority in both
fingers and bow arm and her play
ing Of the Sonata" was finished in
detail. The flute "Sonatina," COM
posed this year, proved to be the
high light Of the program in Mr..
Smiths excellent and artistic de-
livery Of it. ia
+ Kirkpatrick ut National Gallery.
What this country owes to John
Kirkpatrick for his championship
of American music cannot be esti-
mated. To know really what 1t
sounds like, 1t is necessary to hear
such a recital as he gave last night
in the National Gallery of Art.
While he is propogandist Of the
contemporary composers he does not
forget their forerunners and the
program he played gave generous
prominence to both types.
Mr.. Kirkpatrick first of all is a
poet and he is guided by this highly
developed and sensitive approach to
everything he plays. But when 1t
is applied to American music, there
is a thrill seldom associated with
listening to any of our native crea-
tive talent, especially the moderns.
The pianist has also q deep under
standing of it and q sympathy for
it quite extraordinary. So that
when he gives an evening of music
such as that Of last night, it is not
only an event of Importance but one
that carries special lift to the
spirits with it.
When making known some new
works such as John Lessard's
Mask" Theodore Chan1er's 'Toc-
cata in E fiat major" Hunter john
sons Sonata" or Carl Ruggles
"Evocations," the angles are all
smoothed out and a surprising
roundness substituted. This is, in
part, due to his beautifully de-
veloped technique which is of great
lightness and flexibility. It also is
traceable to his intensive study of
the works from an interpretive
standpoint. He has found the exact
meaning of every phrase and the
requisite tone color, rhythmic inflec-
ton and dynamic variations for ex-
pressing 1t.
Ruggles' "Evocations" in four
short movements submitted least to
his refined treatment, for intrinsic
cally it is of harsh outline and with
little glow eminating from 1t. Les
sard,s Mask" on the contrary, re-
vealed whimsical thought of great