Evening star., 1948-04-12
The Battle Hymn of the Repub-

lie.
A more serious atmosphere pre-
vaded the Phillips Gallery were a
group of singers and Kenton Terry,
flutist, presented the works Of Mary
Howe. The greater portion of the
program was given over to songs
with two groups of difficult numbers
superbly sung by Katherine Hansel,
soprano. The singer has q voice
so securely placed and so pure in
quality that the taxing intervals
and high tessitura were managed
with the utmost ease. A male
choir consisting of Samuel Brown,
John Bush, John Burris. Richard
Hall. Edgar Link, Nick Lollo,
Edward McGandy, Chester Morris,
Richard Raver. Stuart Vaile and
Paul Zimmerman participated un-
der the direction OF Theodore
Schaefer. They were assisted in
some numbers by Rachel Koefner,
mezzo-soprano; George Bairitt;
tenor, and John Thompkins, bass
The songs showed new. expert
ments by Mrs Howe whose previous
vocal works have been outstanding
The smooth singing line was sacri-
feed in some of the numbers so
that the voice became more of a
declamatory obligato to the very
rich accompaniment. There were
lovely effects achieved in "Heute
gehe ich" and "Mein Herr" and a
sensitive union of voice and ac-
compartment in TN Tauris." One
of the finest of the solo numbers
was "Reve" set to words by Victor
Hugo, where the vocal phrases es-
tablished rare atmosphere against
an eloquent accompaniment Mrs
Hsnsels sympathetic treatment of
the text gave a beautiful fnterpre-
tation to Spring, Come Not Too
Soon" But on the whole, the style
is too complex to show the voice to
the best advantage in a less ex-
pert handling than that of Mrs.
Hansel.
The three numbers for flute
Traits" "Interlude" and Tactics"
bring out the songful qualities of
the instrument with simple and
lovely melodies. Although the piano
accompaniments. excellently played
by Sol Sax, were of the same elabo-
rate design as for the songs, the
flute was treated more kindly and
Mr.. Terry's playing was smooth and
polished All the artists were
warmly applauded, the choir for its
singing of the dissonant choral
parts of Cavaliers and Robin
Hoods Heart" and Miss Koerner,
Mr.. Barritt and Mr.. Thompson for
"a fine presentation of Williams
burg Sunday"
Walker Makes Gallery Debut.
George Walker, who has played
here frequently, made his National
Gallery debut in a varied program
that showed the progressive develop
ment of his marked musical and
pianistic gifts. He has intuitive
feeling that has refinement of in
sight, a technique adequate to eX-
press it and tone susceptible of
color changes Most of this was
more pronouncedly evident in the
latter half OF the program when the
artist played such sympathetic num-
bers as Poulencs Presto in B Flat"
Chopin's 'Nocturne in B Major, Op
81, No. u; the "Etudes in E Major
and c Minor of Opus 10" and the
'Scherzo in E Major, Op. 54'
In this group he placed also
Honegger's Sept Pieces breves,
dashing, short and taxing gems
which he played brilliantly but
which the audience, unaware that
they were finished, received in 81
lence. His own Variations on a
Short Theme" showed him as
composer of promise with an under
standing of pianistic effects.
Less satisfying was his playing
of the Scarlatti sonatas in E major,
G major, D minor and B fiat major
and the Schumann "Fantasie, op
H." Although the presence of in
dividual ideas was felt. he had not
gained the freedom that set forth
the latter numbers with more con-
viction. SensitiveneSs infused the
melodic measures of the Schumann
with poesy b,'' it lacked sweep and
continuity. Also at times his tone
became ponderous while in the
shorter works the same volume was
handled more lightly. The Chopin
revealed the keenness of his insight
best and the eloquence of which he
is capable. A large audience ac-
claimed the young colored artist
with vigorous applause.