Evening star., 1947-05-12
By Alice Eyersmon


thing Of an innovation in these
DAYS, for it was confined almost
exclusively to works by the great
DYNASTY Of composers, Purcell. Han
del, Haydn and Mozart. With the
prestent vogue for novelties and the
latest from contemporary writers,
the return for an entire evening to
the renown classicists was pleas
ant experience. A very subtle indi-
cation could be observed in the list
ing of Samuel Barber's "Adagio for
Strings as the only modernist, Tor
this 10th century composer, in this
particular work, is worthy OF inclu-
sion in the august assembly.
The National Gallery Sinfonietta
for which the program was designed
had as soloist Robert Gross, con-
|certmaster of the Denver Symphony,
who played the Mozart Concerto
No. S in A major, K, 219." Mr..
Gross is an excellent artist with an
exceptional feeling for Mozart's style.
His performance abounded in struc-
tural grace that was suave IN spite
of its remarkable clarity. Whlie
crisp in the minute fashioning OF
each phrase, it was nonetheless fun
of an ingratiating elegance and his
vibrant tone was malleable TO every
infection of the music expressing
its full beauty in the cadenza. Mr..
Gross will give an entire recital next
Sunday in the Gallery.
Henri Elkan, Belgian, now resi-
dent in this country, has made an
orchestral transcription OF Pur-
cells THE Golden Sonata" which
was given its first local performance
last night. One of the composers
finest works and enduring in its
popularity, it gains in the complete
transference to the gamut OF tone
of the string instruments. The
narpsichord section, intricately
woven into the violin parts, is BET
ter expressed in the dark color OF
the celli and double bass and
through them becomes more fused
lin a richer hued pattern. 1t fol-
lowed the charming overture to "Ihe
Rival Sisters"
Some of the finest playing Of the
Sinfonietta was in the Air and AL
|legro" from Handeps Concerto
Crosse. No. 21 in D minor and in
the Barber "Adagio for Strings.
The sorority of the deity con-
structed form of the latter and its
noble line were especially well de-
fined in the performance. The pro-
gram concluded with Haydns Sym
phony No. As in r sharp minor" in
which the composer subtly protested
against Prince Esterhazys edict that
all married musicians of his or
chestra must have their wives live
elsewhere than on the estate. 1t
was performed last night as at its
premiere in 1772 when, as each
musician finished his part, he
tucked his instrument under his
arm and departed until only the
first violin of each section and the
conductor remained. AS its con-
clusion, MIR. Bales and the two in
strumentalists solemnly walked out
apparently determined to ignore the
delighted applause of the large audi |
ence.
Sonatas Played at Phillips Gallery.
Three interesting sonatas were
programmed in the recital given
Yesterday afternoon by Elena de
Sayn. violiniist, and Miksa Merson,
pianist, in the Phillips Gallery
First presented was the Sonata
in F Sharp major, op. Is" by
Frances Terry, now living in Nor
champion, Mass, who won first
prize with this work from the So
ciety for the Publication of Ameri-
can Music. The composer not only
has a clear grasp of form but is
able to express emotional depth
with communicative power.
The plan of the Sonata" is
highly dramatic, reaching its apogee
in the broadly devised Largo. The
final movement Is, to some extent,
an anticlimax for the opening
Allegro, with its passionate de-
clamation varied by lyricism OF
great beauty, states completely what
the composer has to say. The de-
lightful Scherzo with a whimsical
interchange between piano and vio-
lin, leads into the Largo which is
short but intense with feeling. The
final Allegro reiterates somewhat
the subject matter Of the opening
movement although built up to a
stirring climax.
The skill with which John Powell
has expanded the folk melodies that
form the basis of his Sonata Vir-
gianesque" produces work OF In
triguing complexities. The at
mosphere of the three movements
I'm the Quarters" In the Woods"
and "At the'Big House" Is indi-
Gated by the tunes that date back
to the Civil War period and the
life on a Virginia plantation. Al
though a youthful work, 1t shows an
extraordinary knowledge OF how to
write effectively for both instru-
ments, the material given to the
piano being especially grateful.
The Sonata in B Major, Op. IL
| by Nikolai Medtner reflects his pow
erful personality in the exigencies
assigned to the instruments. The
austerity with which he treats his
melodies, often concentrated on the
note of the key, lends it a specific
character. Its Russian element is
more emphatic in accent than In
theme. Not unlike his predecessors
he found inspiration in the semi
Oriental music of the Caucasia and
adapted 1t to his own needs. There
| lie yoore Y,rono,,nced Russian color