Evening star., 1949-05-09
By Alice EyeFsmon

The concert of compositions by
members Of the Washington Com
posers' Club In the National Gal
lery Of Art last night was tri-
umph for all concerned. First
praise goes to Richard Bales, who
at the head of the National Gal
lery Orchestra gave a splendidly
understanding reading to all the
works. The orchestra also cov-
cred itself with credit in the
manner in which it played the
new and taxing works, giving then,
as fine performance as possible
and with short preparation.
This is the first time since Mr..
Bales inaugurated the American
Festival of Music that full pro-
gram has been devoted TO orches-
tral works of local composers. All
those played last night were writ
ten for the occasion and given
their premiere. The encourage
ment given by Mr.. Bales TO the
members of the local club should
be a great incentive for future ef-
fort. His sincere interest was evi-
denced, as it has been for other
American composers, in his sym
pathetic and enlightened feeling
for the individuality of their styles.
The Arrangement of the pro-
gram must have presented difh-
culties also, but the result brought
out the diversity of ideas and
treatment as well as contrast In
mood. Whether intentionally, and
decided beforehand, or not, each
number gave prominence to a
different section of the orchestra.
Added to the ensemble for this
concert was the harp, played by
Sylvia Meyer.
Many Have Works Played.
Several of the composers have
written already somewhat ex-
tensively for orchestra. Mary
Howe, whose works have been
widely played by symphonic
organizations, contributed an
Agreeable Overture" for this
program. 1t is one of her best
works for this combination. Open
ing with a trumpet fanfare, 1t
moves In pronounced rhythms
and with plenty of melody, spiced
sufficiently with dissorances to
keep the interest keyed up. Wood
winds and harp are given inpor-
tant assignments that strike
distinctive note. 1t was followed
by r. Deane Shure's lovely
Mountain Lake Reflections for
strings. Mr.. Shure writes in
music with painters art and
the muted strings create brood
ing atmosphere where only ripples
disturb it's serenity and beauty.
The rich voice of the cello in
tensified the effect In some solo
passages.
More complexity and angularity
entered into Eric Bovet's Intro
duction and Allegro" with Its
brilliant writing for the harp.
The composer sets forth his ideas
with strength and surety and
with o telling pungency In the
counterbalancing OF the orches-
trail voices. The harp states an
arresting theme at the beginning,
returning to 1t with important
pronouncements several times and
having its special moment In
short but virile cadenza. The AL
legro" has something of the char
acter of a ritual dance.
Modern Note Sounded.
Emerson Meyers sounded the
most ultramodern note in his
"Concertino for Piano and Or
chestra," in which he was also the
soloist. Treating the instruments
percussively, he achieves a sono-
rity from the orchestra that often
overpowered the intricate part he
had written for the piano. The
effect of the compact form Of the |
beginning was Offset by the
rather banal ending which picked
up the rhythmic style Of dance
bands. perhaps with some inten-
ton not discernible at a first
hearing. His own performance at
the piano was brilliant and he
received acclaim as both soloist
and composer.
Quite in another vein is La
Sale Spier's Journey With a
Clarinet" which starts out with
some orchestral measures that |