Evening star., 1950-03-06


that hides the scholarship.
Mr.. Casadesus' particular style
and the extent of his talent were
contained fully in the performance
OF Schumann's "Etudes Sympho-
niques." The range of material in
these variations covers consider
able pianistic ground and each
section. as Mr.. Casadesus played
it, was another revelation of his
versatility. 1t would be idle to take
exception to this or that portion,
infection or tempo, for they belong
thoroughly to the artist and are
expressive of his mentality and
feeling.
His intellectual approach is
softened by a grace and charm
that often takes the place of SEN
timent but is nonetheless impress
sive. It was uppermost in the
lyricism of Beethoven's Sonata
in A fiat Major, op. no." and cast
sheen over the Andante of
Bach's italian Concerto" which
he played in commemoration of
the bicentenary of the composers
death. Both of these works held
wealth of fluctuating color and
the most subtle dynamic changes.
Again. in Rameau's delightful
"Gavotte Variee," the sensitivity
OF his presentation was also rich
in varied effect. His perfect
legato in scale passages for both
hands, in the "Gavotte," was
memorable.
The French artist has style
all his own in playing Debussy,
one that seems to gather the
notes together for the special
mood or effect the composer de-
sired. He programmed six Pre-
ludes: "Danseuses de Delphes,"
Les Collines d'Anacapri," and
La Cathedral Engloutie" from
Book I, and General Lavine-
eccentric" La Puerto del Vino"
and "Feux d'Artifice" from Book
II. The pictures or ideas con-
tanned in this selection are so
ephemeral as to be destroyed by
the least misconception. Mr..
Casadesus saw these pictures in
their frame and with the. most
skillful use of his musical brush
re-created them for his listeners.
They were all played with ex-
quisite detail yet this was sub
merged in the broader pattern.
More than the applause, which
broke restraint several times, was
the absorption of the audience. At
the end. there was an ovation and
a general reluctance to leave be-
fore the encores were forthcom-
ing.
Madeline Foley Recital.
Madeline Foley, young cellist
of exceptional gifts. was heard in
recital last night in the National
Gallery of Art. She was accom-
panied on the piano by Paul
Ulanovsky. whose sensitive play
ing was Of high artistic caliber.
The ensemble attained was of the
finest with every musical value
prepared with care.
The tone Miss Foley produced
is unusually sweet and pure. It
has no great volume or sorority
but within its scope she is able
to achieve splendid effects. The
Brahms Sonata No. / in E
Minor" which closed the first
part Of the program, needs q
more resonant quality for its
opening measures. In fact, with
the piano given so important a
role, the cello must, at times, take
second place unless greater tonal
strength is possible than Miss
Foley possesses. She compensates
for its lack by a remarkable sense
of phrasing and fluent finger
technique.
The quality of her innate mu-
steamship had other opportunities
to reveal itself in Bach's Aria
Pastorale" and in Beethoven's
Seven Variations on Theme by
Mozart" Aided by the knowl-
edgeable support of Mr.. Ulanov-
sky, the Variations" were de-
lightfully played with a wealth of
charming nuance.
Miss Foley is an artist in whom
glowing temperament is evident.
Her performance has verve but is
dominated by a compact musical
feeling. If not yet of the virtuoso
type, she has a quality of pro-
fundity that was recognized by
the audience and acclaimed with
fervor. The program listed fur
ther the Debussy Sonata" and
Schumann's "Adagio and Allegro"