Evening star., 1951-02-05
BY Alice Eversmon

the ref1nement OF the pianiStS'
style caused the interest of the
audience to increase with each
number.
It was Mozart's delightful
Sonata In C Major, X. 521"
which established the atmosphere
of intimacy. 1t was played in its
original version for four hands on
one piano. The dialogues between
the performers seemed to gain in
the closer association and the
artists were expert in fitting them
so smoothly together. In spite of
the generally amiable character of
the work, 1t has its brilliant dis
play moments, the difficulties of
which were never permitted to be-
come obvious in the reading.
Nor were its constant repetitions
boring. for each time they re-
turned infused with a new quality.
Miss Vronsky played the lead
themes sparkingly.
Other works played here pos
sibly for the first time were Liszt's
Concerto Pathetique" and Pou-
lenc's Sonata" The former
brought to the fore Mr.. Babin's
deep. warm tone in the main
themes although both partners
had their share of the Lisztian
fireworks. 1t is dramatic in the
familiar manner and taxing in its
virtuoso demands. Poulenc's
Sonata" has the indelible char
acteristics which the composer
wove together so delightfully."- in
his Concerto for Two Pianos.
But there is less jesting in it and
more simplicity. Poulenc's lively
vein is touched with some Of his
musical acrimoniousness in the
first and final movements enclos-
ing banal theme in the Rus
tique" which he embellishes clev-
erly nevertheless.
Three movements from Stravin-
sky's "Petrouchka." the "Danse
Russe," Chez Petrouchka" and
"Semaine Grasse," have been ar
ranged by Mr.. Babin for the en-
semble with the composers per-
mission. At best, this piano tran
scription cannot convey the ideas
or supply what the orchestra ver-
sion or the ballet does. It Is bril-
liant and difficult enough to form
the kind of a finale to the pro-
gram that aroused a demonstra-
ton from the audience. Encores
followed naturally, led off by
Brahms "Waltz in A fiat Major"
known as the Cradle Song"
Analee Camp at National Gallery.
In the National Gallery Of Art.
Analee Camp. cellist. was heard
in recital with her husband. the
renowned composer-pianist. Ernst
Bacon at the piano. The pro-
gram ended with Mr.. Bacon's
Sonata" one of the best me-
dium's for the Instruments dis
play on the list.
The composers songs have
found their way into many re-
cital programs and his melodic
gift is employed as well in this
work for cello and piano. He
draws out the Instruments rich
est hues In the opening Grave
contrasting them with the lilt
of the folk tune inspired Ale
gretto. The individuality Of his
harmonic treatment gives a new
favor to the more bravura pas
sages which range the full scope
of the instrument 1t is an ar
resting work. it's superior crafts
manship reaching a height in the
"Fugue" yet equally notable in
the ardent Lento.
1t served best also to show
the richness of Miss Camps tone
and her technical fluency. Her
musical sensitivity directed her
excellent phrasing and her grasp
of the substance Of her numbers.
The mellow quality she obtains
from the instrument can be So
norous and vibrant in fortissimo
but is inclined to be lost when
playing softly. Neither Bach's
Sonata in G Minor" nor Bee
thoven's Sonata in C Major, op.
102, No. /" brought out her finest
points as well as did the sonata
by her husband. Passages were
less clearly defined and some de-
fects in intonation were present.
She is an interesting artist, how
ever, because of her fire and pow
ers of projection. Mr.. Bacon's
assistance provided perfect en-
semble.