Evening star., 1948-09-13
By Eleno de Soyn

The National Gallery of Art re.
opened its series of Sunday con.
certs last night with an unusua
program given by Nell Tangeman
mezzo-soprano. 1t is not the frs
time that Washingtonians had ar
opportunity to admire her skill ane
musicianship, for the singer has beer
heard locally before. However, thi!
was Miss Tangeman's first song re-
cital here and she deserves specia
commentator for bringing out un.
known melodic gems by Mailer
songs by Berlioz, the symphonist, ar
aria from Stravinsky's much dis.
cussed "Oedipus Rex" and of a cycle
by the famous French modernist
Milhaud.
1t takes courage to present 9
thoroughly unhackneyed program
representing a complete departure
from centuries old established ira
ditions of sustained bel canto. With
one or two exceptions, it was an
occasion when composers seemed tc
vie with one another in their prowess
of treating the human voice as a
musical instrument. The music
abounded in difficult intervals
rhythmic patterns at variance with
the piano part, ample use of the
entire register, unexpected turns OF
melodic lines, rapid persuasive tones
all of which the artist encompassed
with utmost ease and abandon. She
is endowed with healthy and pill
able voice, sonorous and obedient
to her will.
The first test came in "D'Amoul
lardente famine" Marguerite's
Romance" from Berlioz's La Dam
nation de Faust" This aria may be
considered a preamble to modern
exploits climaxed in songs by mod
ernists represented on the program
1t was Berlioz who sowed the seed
which was destined to attain full
bloom almost a century later. His
Willamette" and Lille Inconnue,
the opening numbers, although in
ferior to the Romance" are already
closely related to songs by Faure
and to some others by French
lyricists of the recent past. The
Romance" from the composer,
famous opera La Damnation de
Faust" written by him in a stage
coach while travelling through Ger
many, is stunning concert number
which, had it an adequate piano
accompaniment along present-day
standards, could hold its own In
company with well-known master
pieces.
Miss Tangeman sang three out Of
seven Mahler's songs in the collec-
ton known as "Sieben Lieder aus
letter Zeit," based on poems by
Friedrich Rueckert, author OF thu
Kindertotenlieder" set to music by
Mailer. Besides these two sets, thu
latter composed five volumes worthy
to stand besides the lieder con.
stantly heard on concert program!
"Wer hat das Liedlein erdacht,
"Liebst du UNI Schoenheit," lovely
for it's harmonic patterns, "Scheider
und Meiden," inspired by a folk
song, Itch atmet'einen Linden Duff
and Itch bin der Welt ALEXANDER
gekommen" were among the mos
successful numbers on the program
interpretatively. especially "Icf
atmet'einen Linden Duff" in which
the singers voice took on a refined
and poetic hue. Unfortunately hel
diction either in German, French
or English is not distinct, nor doe
she color her voice in accordance
with the text. She has not beer
helped much by the dull piano &C
compartment supplied by Rober
Cornman, which was devoid Of toni
and personality.
Two numbers on the program re
ceived their local premiere las
night, Leonard Bernstein's dramati
/ "Afterthought" and "Jocasta's aria
from Stravinsky's "Oedipus Rex.
Those who may be prejudiced to
ward Stravinsky In general, coul'
have not found much fault with hi