Evening star., 1947-04-21
By Eieno de Soyn

/ Three concerts yesterday con-
tfibuted much In aesthetic values
ID the already heavy score OF the
seasons outstanding events. Rich
Ia unfamiliar music, the programs
were notable for their lighthearted
and graceful character, presented In
In accomplished manner.
! Making her appearance in the
Pan American Union under the pa
tronaae Of the Argentine Ambassa-
kor and Sonora de Ivanissevich.
1uana Sandoval gave piano re-
tital, introduced by Senior Don
Ruben J. Dussaut, acting represent
Stive Of Argentina on the Governing
Board. With an expertise of one
who has feel for his native music
and technique equal to its de-
mands, the artist brought out four
compositions by her countrymen.
Among these were Gilardi's bright
Argentine air, la Firmeza";; the
rhythmic "Bailecito' by Buchardo,
another exponent of stylized native
themes, Morillo's engaging Can
cion Triste y Danza Allegro" and
Aguirre's imaginative "Huella y
Gato.'
Two more numbers by Latin
Americans: villa-Lobos' "Alnitah. !"
a modernistic suggestion of a tink-
ling music-box, and Mortet's "Junto
al Fogon," we're enthusiastically re-
ceived and called for a succession
of encores which Miss Sandoval
added generously to her printed pro-
gram. The facility Of the pianist's
left hand was best illustrated by
Chopin's "Etude op. 10 No. II"
which closed the first part of the
concert. Her Introductory num-
bers: Schumann's Carnival" Cho-
pins "Nocturne in c Sharp Minor
and two Mazurkas, bore rather the
accepted stamp of somewhat out
worn tradition without lending any
special distinction to the program.
Brahms Concert at Phillips.
| One of the finest tributes to the
memory of Johannes Brahms,
whose 50th death anniversary Is
being commemorated this year, was
the program given yesterday after
hoon in the Phillips Gallery. join
Ing forces in the presentation of the
composers two cycles of "Liebeslie-
Her." opus IS and opus So. were
Evelyn Meyer. soprano: Rachel
koerner, mezzo-soprano; George
Barritt, tenor, and Harold Ronk,
baritone, with a four handed piano
accompaniment, played by Theo-
- dore Schaefer and Paul Galloway.
It was a concert not only out
standing because of the rarity of
opportunities to hear these charm
Ing works but for the artistic ex-
fellence of the groups performance.
fmpeccable style and complete CO.
ordination between voices and
accompaniment achieved effects
usually associated only with first
glass instrumental ensembles,
The exquisite blending of the vo-
cal tone whether in the quartet
numbers or in the duets the unity of
plain in shadings and the thorough
realization of the spirit of each Sc
lection, highlighted the songs of
opus 65 with special effect. The
purity and lovely quality of the in
dividual voices were to be appreci-
Ated in the soprano songs: "An
Jeder Hand" "Rosen steckt mir an
die Mutter" and allies. allies in den
Wind sagst Du mir; in ''Wahre,
Wahre deinen Sohn" for nezzo-
soprano; the tenor solo. Itch kcse
suess," and "Finstere Schatten der
Nacht" and "Ihre schwarzen Anger"
for baritone.
More romantic in content, the
earlier opus Incorporates the gay
and charming atmosphere Brahms
Absorbed aduring his stay In Vienna.
The waltz rhythms sparkle with
brightness yet lend themselves to
the tender sentiment that is char
acteristic of this set. Some of the
composers more tempestuous feel
ings find expression in the later
cycle where the piano takes greater
prominence over the voice.
Gordon StHng Quartet Gives Recital
Placing In accent on sentiment as
well as on impeccability of execu-
tion, the Gordon String Quartet
expert in its chosen field, surpassed