Evening star., 1950-03-21

ACSC, tIlC S1Oup VI WOl1lCll SlllSCl
bears the name of Jenny Lind and
the mems group that of the Swed-
ish composer and poet, Gunnar
Wennerberg, contemporary of
Jenny Lind. The two ensembles
united some years ago to form
the Augustana Choir.
1t is a flexible group throughout
its sections. Singing a cappella,
its security of intonation is i'm
peccable and several of the num-
bers tested this important ingredi-
ent fully. The most difficult, in
this respect, was Britten's Hymn
to st. Cecilia" in which intervals
were of most unusual kind and
the various divisions were called
on for harmonies at odds with
each other until resolved with the
canny skill Britten possesses.
This was the most remarkable
number of a program that was
choice throughout.
Another British composer,
Vaughan Williams, was represent
ed by his Lord Thou Hast Been
Our Refuge" work of great
beauty. The contrast between the
two was marked. The Britten
hymn is one of the most startling
of choral works and one of the
most fascinating. The composer
breaks definitely with the custom
ary choral style, creating original
effects and bringing the whole
back to normal harmony in most
unexpected ways. Mr.. Williams
has formed his work on the basis
OF the churchly chant for bass
voices, around which is woven
lovely themes in the clear tones of
lighter quality. Its reverent char
acter is enhanced by the melodic
frame surrounding it. The Choir
sang both these taxing numbers
splendidly, showing its exceptional
training and the sturdiness of its
musicianship.
Several Bach numbers were out
standing. In his Praise Our God
Who Reigns in Heaven" sung with
piano accompaniment by the Jen-
ny Lind Chorus, the accompanist,
Ruth Anderson, gave an impress
sive account of the opening and
closing chorales for piano alone.
Prince Gustav's 'I Rosens Doft,"
sung in Swedish by the women,
showed the fine pianissimo the
singers attain. Pergolesi's GLORY
to God in the Highest" gave the
tenors OF the Wennerberg Chorus
and two soloists fine opportuni-
ties. The mems voices are sonorous
and deep, forming an excellent
contrast to the purity of the wom-
ems quality.
In phrasing and nuance, the
singers are completely responsive
to Mr.. Yields direction. The con-
ductor has rare understanding
OF how to bring out the tonal COL
oring and to achieve the most
minute shadings. 1t was a pleasure
TO hear so fine a selection of num-
ners performed with such intui-
lion and artistry. The audience
although not large, was enthusi-
astic. ''' '''4
Washington Composers Club
Gives Outstanding Program
By Elena de soyn
Washington can be justly proud
of Its composers and of the WASH
ington Composers Club, the seven
members of which were respon-
sible for such an outstanding pro-
cram as was heard in the Phillips
Gallery last night. Years of un-
remitting toll, with only annual
recitals to check on continuous
progress. yielded a rich harvest
OF vocal music yesterday, reveal
ing an unprecedented peak of
excellence.
The composers who form this
progressive and live organization
are: Eric D. Bovet, Dorothy
Radde Emery. William Graves.
Mary Howe. Emerson Meyers, r.
Deane Shure and LaSalle Spier.
Through the intermediary of six
talented singers and their collabo-
rators. they presented songs for
one to five voices, and it was the
fine vocal quality and the high
artistic level of the performance
which permitted q full apprecia-
ton OF the merits of the compost
tionS.
The modernistic idiom of Mr.,
Graves songs for contralto which
opened the recital-"I Wake and
Feel" Let Me Have Pity" and
"The Grandeur of God,"-seemed
clear and comprehensive because
Of the adroit phrasing and abun-
dant~ nuance used in the delivery
These and many others stressed
the independence of the singing
from the instrumental. To thai
category belonged Mr.. Meyers
effective Lament for Summer
and five songs for soprano ane
string quartet by Mrs. Howe
Supported by rich instrumental
background, the vocal part of the
last moved flexibly over difficult
intervals. It gave free expression
TO passionate outbursts of emo.
ton in Avalon" sadness ir
"Fair Annet's Song" and a touch
Of folk-art in the "Old English
Lullaby" and ''The Prinkin Leddie.
Midway between the modernisti.
and the melodious stood Mr.. Spier'.
two individual love songs for so.
prano and tenors, 1.-THE Kiss" anc
Edna, Darling" from the imagi-
nary opera 'Deadwood Dick