Evening star., 1947-06-02
Weiner and Dvorine Perform
In Concert at National Gallery
By Alice Eyersmon

~ -
By Alice Eyersmon
The unusual feature in the sonata
recital presented last night by STAN
ley Weiner, violinist, and Shura
Dvorine, pianist, In the National
Gallery of Art, was the inclusion OF
works by foremost composer Of the
United States and by the most out
standing musician In Mexico. Walter
Piston, In his Sonata No. l." and
Carlos Chavez In his @Sonatine.'
represent two widely different out
looks expressed in q modern idiom
To Offset these rather angularly de-
signed compositions were the
melodic ones of Cesar Franck's s
Sonata in A major and Schubert's
"Fantasie."
Perhaps the most interesting
point of contrast in the works by
the North and Latin American was
the difference of their imagination
That Of Piston revolves within a
limited space while that of Chavez
reaches out beyond all boundaries
Consequently in the latter's Soma
tine" there was a glow and a vivid
ness not to be found in the Piston
although both, with some variance,
used a thoroughly contemporary
non- -programmatic speech. But with
the best of intentions toward abso-
lutte form, Chavez could not resist
his instinct for the dramatic and
the picturesque.
There are many whimsical in
sertions in his "Sonatine" and its
dissonance is striking yet 1t is
strongly innbued with warmth and
color. It's opening section may have
a folk source for 1T is written in
simple melodic line for the violin,
This serene mood is dissipated by a
tempestuous outburst that loosens
the full flight of his fantasy. It is
harsh and exciting music not taking
account of the singing possibilities
Of either instrument yet abounding
in vitality.
In it's form, Mr.. Piston's Sonata"
is more crowded with material and,
as it only occasionally scars beyond
an even level, it has less of brilliance
and auricular appeal. The inter-
lacing of the two instruments is
more complex and so closely set as
to offer little contract. There is
greater expansion in the Andantino
and an emotional coloring Of ex-
pressive quality. Its vigorous Al
legro is rounding out OF the ex-
|cellently devised form of the work
which shows a careful and knowing
craftsmanship in its construction.
The size and beauty Of Mr..
Weiner's tone make dramatic
medium for both these works of the
newer school and for those of the
romantic. He is violinist splen-
didly equipped in all phases Of his
art, possessing a broad style and "a
thorough command of the technical
requirements. Mr.. Dvorine has
played in the Gallery as piano solo,
ist and his proficiency as such has
revealed a fine natural gift. AS a
sonata partner, however, he has not
yet attained the complete balance
necessary. He alternated between
being an accompanist and a, soloist,
as the former, not always sensing
the moment when he should COM
plement the violinist in a following
phrase or, as the latter, dominating
the ensemble too definitely. These
are matters that can be ironed out
with more practice and which should
be simple affair for two. such
talented instrumentalists.
Both the Franck Sonata" and
Schubert "Fantasie" were given
finished performances. The ten
derlcy to- quick tempo In the open
ing measures Of the Franck hardly
allowed for a full appreciation of
their emotional message which
mounts throughout the work to an
uplifting climax. This was better
regulated in the Schubert and, in
many respects, the young artists
were at their best in the ''F'antasie." +"
The audience was demonstratiye in
its reception of the entire program.
Two Singers Heard at Phillips.
Two singers, Elizabeth Bukowski,
lyric soprano and Lucille Cipriano,
mezzo soprano, who have given joint
recitals before, were heard in a pro-
gram in the Phillips Gallery yes
terday afternoon. Although their
voices are not of the same range,
the quality is similar; and, except
for difference in height, their
appearance also. They had the ad-
vantage of Dorothy Radde Emery
at the piano whose accompaniments
are a pleasure to hear.
The selections did not put heavy
demands on either of the sopranos
but were sung with interpretive fin
ish that gave evidence of real talent.
Except for a rather pointed tone,
Miss Cipriano's presentation of
Naginski's Might Song at Amalfi"
and "T'he Pasture" Rachmaninoff, S
DO Not Grieve For Me-" Tosti'sI
"Serenata" and Rossini's LA Danza"
Weo AhoA hCd NY ACC1lIlS kOI GIl6 I'LL
verse sentiments and by good
phrasing. The "Ah, voyons Manon"
from Massenet's "Manon" required
more of the vocal control which
Miss Cipriano used so successfully
in "Che faro senza Euridice" from
Gluck's "Orpheus. This classic
aria and the two Naginski songs
suited the singer best.
Miss Bulowski seemed to be sing
Ing over cold which, however, in
no way impaired her vocalism. The
mellow. timbre of her voice gave
appeal to the two songs by Renato
Bellini, "Ninna, Mamma a Llama"
and Giro Tondo," and the
charming numbers by Stanlislaus
Moniuszko, "Przansniczka" and
'Szumia jodty," from his opera
"Halfa." Miss Bukoswski is of