davidaulloa/AmericanStories huggingface dataset:
Evening star., 1955-01-30
Turntoble Talk
By james 6. Deune

Even o record-Inaker Is en-
titled to . bit Of whimsy now
and then, q fact Columbia
must be aware of. for it has
just put out q most whimsical
record, indeed.
The title Of this opus. the
Jacket Of which Is decorated
with pictures Of q COW. rooster.
steam locomotive, dachshund
and other unusual fora and
fauna. in place of the usual
death mask OF Beethoven or
q lithograph of "The Blue
Boy" is Strange to Your
Ears" On it Jim Fassett, a
gentleman well known to
musical radio listeners as the
presiding dignitary Of the New
York Philharmonic SYM
phony's Sunday broadcast IN
terludes. indulges a personal
fascination with what the
jacket labels as 1.-THE Fabu-
lous World Of Sound"
Crying lnfont q Bosso
Mr.. Fassett's fascination is
centered on the rather re-
markable things one can do
with q tape recording ma
chine. merely by speeding it
up. slowing it down, taking
the tape out and reversing it.
or by perhaps playing it upA
side down, or something of
the sort. For instance, a cry
ing infant suddenly becomes a
basso. a Queen Elizabeth"
size foghorn turns into a tug
boat whistle and a Growing
rooster sounds like I don't
know what. There's also a
documentary incident which
already is becoming enshrined
in the literature OF the times
as "Fassett's Patented Pin
Drop" 3
In case for some reason this
all sounds rather uncultural,
Evening star., 1955-01-30

actress and singer, she has Sc
cured her position Of fame in
the arts.
The Incompatible Waters
style is now available to all,
as she has just released a fab
ulous 'Favorite Songs of Ethel
Waters" LIP.
Each number is q gem in
itself. as she pours forth her
heart and soul in such tunes as
Paper Moon" Cant Help
Lovin' That Man." Summer
time" "Travelin',' Little
Black Boy" "Suppertime," "a
Hundred Years From Today"
"St. Louis Blues" "Crucifix-
ion." Sometimes Feel Like a
Motherless Child and the
song she made famous, Hap
piness Is Just Thing Called
joe" (Mercury MG-20051.)
Previews and Reviews
Tommy Alexander's new
band waxed WAS That the
Human Thing To Do" for
MGM. Dorsey Brothers
cut "You Too Can Be q
Dreamer" for Bell. Clef
to issue l2-inch LIP titled
Our Best" featuring such
stars as Peterson. Getz,
Hodges, etc. MGM to wax
suite from new Broadway
show "The Flowering Peach"
Morton. Gould to cut
themes from "Cinerama Holi-
day" film for RCA Victor. :. !.
Guy Lombardo etched three
sides for Decca.
y 49,
Just Released
Kid Ory-Fabulous new l2-
inch LIP aptly demonstrates
why the trombonist is the
king of New Orleans Jazz. ory's
brilliant playing. plus the ter
rife solo work Of pianist Don
Ewell, trumpeter Alvin Alcern
and clarinetist George Probert.
spark the fine little group. It's
difficult to pick highlights. as
each number is so expertly
arranged and performed.
Choice OF tunes is excellent.
Evening star., 1955-01-30
Turntoble Talk . 1E
Some Fabulous Sounds Perpetuoted

it should be noted that the
disc qualities as q musical
enterprise in various ways. in
cluding appearances Of q tri-
angle. canary bird. o tuba
and flute duo (more improb-
able sounding, even, than it
would seernl. a hurdy-gurdy
and q piano playing. among
other things, The Flight of
the Bundle Bee"
All for theaFun Of 1t
The contents Of this un-
orthodox demonstration
lecture came from actual Phil
harmonic broadcasts, which
ought to clinch its cultural
claims. and Mr.. Fassett is
doing it all for the fun Of it.
of course. All the same. hear
ing a recording of America"
played backwards and then
re-recorded forwards again
with indescrihable results
gives one pause. VIII some
unscrupulous entrepreneur Of
the future be capable Of re-
versing Beethoven's Fifth and
palming it off on an un-
suspicious public as Neyoh-
techs First?
How about that, MIR. Fassett?
Such worries. though, may
be premature, and meanwhile
anyone who wants to amuse
himself can try to identity the
originals of 20 mysterious tape
made sounds Columbia has ap-
pended to side two Of the disc.
Handsome prizes, including q
tape recorder. are available to
the ingenious. the best of
whom then will be able to try
out some home made mystifi-
cation himself.
Evening star., 1955-01-30
Ethe! Waters Fovorites Collected on LP Record

with the LIP containing nine
numbers: when the Saints
Go Marching In" Maple
Leaf Rag" Wolverine Blues"
yellow Dog Blues" THAT'S
A-Plenty," "Muskrat Ramble,"
Clarinet Marmalade," Get
tysburg March," and II Found
New Baby" Good Time
Jazz L-12604.)
Ralph Marterie - His new
12-inch LIP is outstanding.
with the well-disciplined band
showing drive and flash on
the fast numbers, and soft
shadings on the slower tunes.
There's fine Marterie trumpet,
such as in Moonlight in Ver-
mont" and other solid solos
by baritone sax and guitar.
Tunes are "Bumble Boogie,"
Love Theme From The Glenn
Miller Story" "The Creep"
Purple Shades Deep For
est" 'Detour," Take the AZ
Train" Pennsylvania Turn
pike" "oye Negra." Chicken
Boogie,' and the swinging
DRY Marterie." mercury
MG-20053.)
Liberace-His 'Liberace at
the Hollywood Bowl" LIP will
have his fans turning cart
wheels, but unfortunately the
set will not garner new fans.
It's mostly Liberace talking,
and the famed charm eludes
the listener without the visual
aid that makes his concerts
such great successes. The
music is good, but half the
tunes have already appeared
on other LIPS by him. tCo-
lumbia CL-6OO.)
Evening star., 1955-01-30
. BY Day Thorpe

Lector-Well, my friend,
what is the word for today?
I trust there is some weighty
matter to be disposed of. !
always like to find a solemn
truth neatly pigeonholed. More
often than not. alas
Auctor-Yes, as you say, as
you say. But your levity can
gall me little now. At the
moment ] find / have no heart
to preach. I am q saddened
man.
Lector-Dont be ridiculous,
man, you're too meticulous.
What's the matter?
Auctor-I see by your vulgar
quotation from the translation
of "cosi fan lutte" we heard at
the National Symphony q fort
night ago either that you are
trying to nettle me or that you
are so inoculated with the
commonplace that you speak
the jargon unconsciously. o
Mozart! o da Ponte!
Lector-Oho! So that's
where the wind blows! Don't
tell me you're one of those
impossible longhairs that want
to keep opera in an ivory
tower, sung in a language no.
body understands. Can it be
that you really expect opera
to remain in this country ex-
clusively an aphrodysiac for a
few esthetes, and not become
a cultural uplift for all the
people? Maggie has been
dragging Jiggs to the opera
for as long as anyone can re-
member, but has he ever
learned to like it?
Auctor-Wodld he dislike it
any less if it were in English?
=. But wait, let me ask. -.
Lector-Look at Menotti.
Great success on Broadway.
Sold out, can't get tickets.
And all of Menottis operas
are in English.
Auctor-Yes, so / have been
told. But let me ask you'll
suppose your objection to
Mozart opera in Italian is
solely because the great ma
jority of the audience cannot
understand what the charac-
ters in the play are singing
about? Well, suppose we grant
that this is an unfortunate
state of affairs. I agree that
a knowledge of the sense Of
every phrase is very important
for the full savoring of the
music Of a Mozart opera, but
perhaps there are considera-
tions that outweigh this single
one.
Lector-Now don't point out
to me that Mozart wrote his
opera bufd in Italian for a
German speaking audience.
His customers were the aris-
tocracy. the elite. They may
have had German as a mother
tongue, but they all knew
enough Italian to under
stand 1t.
Auctor-That may be true,
but I have never been able to
verify it. Certainly the audi
ences that made Don Giovan-
nj" such a success in Prague
were popular, and I believe
that after the first few court
performances the other opera
bufd, together with Don Gil
ovanni,' were held in con-
siderable esteem by the COM
Evening star., 1955-01-30
Tops in Pops,
By Bob Williams

Ethel Waters has the rare
quality of absorbing into her
: own person and her own feel
ing the history and experience
of her entire people, and being
able to express its emotional
impact in song. 1t has meant
much personal heartache and
sorrow. but it is responsible
for making her the rare artist
she is.
From an humble beginning,
she sang her soulful blues
songs in cheap honky-tonks,
and suddenly found herself in
the elite supper clubs. teach
ing a Nation to listen to the
blues. Finally reaching pin,
r1acle of success on the legit-
innate stage as both a dramatic
Evening star., 1955-01-30
Programs Of the Week

and orchestra. Critics; symphony
No; 1 ttirst moyenent!. sibelias
strings. Barber. the soresrsrSs Ap-
uNrfRp RFrsf5es; STATES Tsss' MARINE BAND SYM
pHoNY ORCHESTRA. Il. Col; VIII
Pedicerd. harp. Commerce DEPART
IN nat. Opus ! q, Beethoven; Quartet
IF Rn0s and DsiRsny sssTo 9saTtft saTs Tro
for brasses. Poulenc: Cancon septimi
brass and percussion. Read; Intro
lara sHNGIDERoV' sa a.lso5p' Gssnen piano Cosmos
Club, $40 pm. Fantasia in D minor
K3s7. Mozart; italian Concerto. Bach;
So nv l. sonsd snd opas oUthost s wS5d NS oaRss asnas
sohn: Polonaise in A nat Opus 6a.
Chopin: Sonata in d minor, Opus 81 !,
No. 2. Beethoven. Preludes. Opus Ii,
NOS. ~ and 10: serisbin: Dance Of
FRIDAY.
FRIDAY MORNING MUSIC CLUB
Rosaiis Siriin. piano: Jeanette de
fS.a.n f%s1s .sse sSDraRs net, DsrShy sr Is Essae
Dorothy Iarvinen. cello; Audrey Davis,
Piano. Cosmos Club, Ii 80 am. Toe
cata In 2, Bach; Six Variations. Opus
knoll esrTrRRiiNa QUARTET. vincent
Persichetti, piano. Library OF Com
gress, $40 pm. Quartet, Irving Fine:
Quartet In F minor, Opus %, Bee
thoyen; Piano Quintet. Persichetti.
UNITED STATES NAVY BAND, Comdr.
Charles Brendier, conductor; Harold
Braseh, euphonium; Lee Swinsen, harp
Departmental Auditorium, $3.50 pm
The Golden Ear March, M, San
Miguel; Overture. Bacshanale and
ner: Believe me. If all those .endear-
Ing young charms, Simone Mantea;
Don Juan, r. Strauss; Ehangri-La
Malneck- ck-Maxweli-Hynes; Wings Of Vic
tory. Frank Ventre: Concertino, Weber,
NATIONAL SYMPHONY ORCHESTRA,
Howard Mitchell, conductor, Wallace
Maryland College, Westminster. Md,
6:Ib pm, Roman Carnival Overture,
Berlioz, SYMPTOMS. No. 90 in D. Haydn;
The Moidau. Smetana; symphony No.
in C minor. Opus IS, Brahms.
SATURDAY.
Evening star., 1955-01-30

AGAIN AT THE NATIONAL
GALLERY-Samuel Sorin,
pianist, whose appearance
at the National Gallery was
a highlight of last season,
will play the Emperor Con-
certo of Beethoven there
this evening.
recitative for a German text
Italian was clearly the Lam
guage for that style of music.
You say these are small
imperfections. necessary flaws
that can be overlooked. I
think rather that the multi
plicity of such stupidities
causes what, If it have any
excuse at all, must be a re-
creation Of the style and aura
OF the original completely to
misrepresent the verbal side
of the opera. With the poise
and balance of the musical
phrases destroyed time and
again, and the dialogue that
comes to his ears nonsense, do
you not feel some sympathy
for the uninstructed novice
who finds himself convinced
that an opera lover is oblitious
to any kind Of nopsense?
I see you shudder, and I
don't blame you. But you can
hardly find fault with the
translatorS, for they have
undertaken a job that is prob
ably impossible. Over In st.
Elizabeths even Ezra Pound
wouldn't dare try it, for it
would certainly drive him
crazy. And Pound is the most
Evening star., 1955-01-30
Tryout Group Holds
Contests for Prizes

The Tryout Group OF Wash
ington is holding a competition
for singers and instrumental
lists. A prize Of 500 will be
given to the best applicants in
each group. The age limit. for
singers Is 81; for instrumental
lists. 20. For further informa-
ton, call Mrs. Leo Ross. $3.50
South Buchanan street. Ar
lington. Temple 6-9367.
Evening star., 1955-01-30

section and analysis OF the
song OF q canary, which recalls
q recording he did last year Of
similar experiments with other
bird songs.
With nice timing, Cornell
University. which put out the
earlier FasSett disc, has come
along with 3 new long-playing
bird song record.
Cornell's record is a new
edition. with almost all new
examples. of the first volume Of
q set of American bird song re-
cordings which has been a
standby of nature enthusiasts
since it was issued in I942.
Sixty of the most familiar birds
are on the disc, including such
notable songsters as the hermit
and wood thrustaes. veery. car
dinal. Baltimore oriole. mead
owlark, song sparrow, and an
unusually musical robin, plus
many others heard in the
background.
Commentary by Dr. Allen
DR.. Arthur A. Allen, who
with DR.. Peter p. Kellogg made
many of the recordings for
Cornell's ornithology labora-
tory. gives q spoken cofnmen-
tary.
This. Of course, is a serious
record. with no experimenta-
ton. Perhaps 1t seems un-
necessary to have q record of
voices one hears so readily. but
it can be a remarkably re-
freshing experience for anyone
susceptible to their appeal in
the summertime to be able to
turn on the same outdoors in
midwinter.
Amateur ornithologists may
obtain information on this and
the other records In the series
by writing Cornell University
Records, 124 Roberts place,
Ithaca. N. Y.
Hi-Ei Anthology
There is an almost subver-
sive theory around that high
fidelity Is an ingredient which
the record buyer should expect
getting it. of course, Is quite
another matterl with every
acquisition. However, for
those who like to astonish
their friends, and silence their
enemies, with a minimum of
advance exploration, a neatly
packaged hi-fi anthology has
been newly provided by Capitol.
Capitol's disc, like an earlier
edition, assemblies a sampling
of some Of the company's best
releases, half popular, half
classical. Charles Fowler, pub
Usher OF High Fidelity. has
supplied hints on what to
listen for. The sound is clean,
varied and-at the option Of
the manipulator-- decidedly
ample.
Evening star., 1955-01-30

eminent translator of Italian
alive. Consider the problem.
The translation must fit the
original syllable for syllable so
that it can be sung without
changing the music. Then,
there must be a close cor
respondence of meaning. Next,
the rhyme scheme must be
maintained, for rhyme is so
closely allied to music that
it naturally seems the attri-
butte of melody rather than
of verse. Finally. the impor-
tant vowel sounds must not be
changed, for each vowel has It's
own prominent overtones (this
is not only an emotional but
also a scientific truth.
Now Italian is a language in
Evening star., 1955-01-30
Whot Happened to 'Cosi'
With Language Switch?

mon man, even In Vienna.
And although German trans
lations began to appear during
Mozart's lifetime. ! believe
that all performances were in
Italian.
Now let me ask you q few
questions. You viii agree, !
take it, that the da Ponte
librettos are Of high artistic
merit, polished. urbane and
elegant; moreover, that the
actual sound Of the phrases
the infection of the words and
quality of the vowels-time
and again quite uilrnistakably
suggests to Mozart the turn of
the musical line. For ex-
ample.
Lector-Oh, don't go citing
specific cases. Let's keep this
discussion on a high plane,
thinking only Of humanity and
principle. We're in Washing
ton, remember.
Auctor-It is a pity, I must
admit, but. while the argu-
ment we are engaged in is not
new, the discussion Of specific
examples is rather a novelty.
and a novelty that should help
the matter come to some con-
cluSion.
Notice throughout the score
that the authors often can't
crowd the sense Of a phrase
into as few words as in the
Italian, and so musical re-
frains or repeated lines in the
original are entirely changed
In translation and lose the
musical feeling Of repetition.
Alfonso leads into his short
aria with the words Barbara
fato" which invite a natural
crescendo: what can a singer
do with What a disaster ."2
The sentimental cadenza of
the girls has no point when
sung to my darling" in
stead of the mock passionate
"Amore." 1t is not the only
time Love flutters their pulses.
Is not led amante" a more
pertinent cause of an ad
libituTs than yet disarming?"
The extent to which rhymes
are omitted and Thyme
schemes altered it is hopeless
to try to demonstrate. I sug-
gest you read almost any page
Of the libretto. Also, you will
find that the characters are
translated into vapid rag dolls,
who may typically be expected
to say such things as: Strong
ly founded, a marble tower,
safely guarded from every foe
and hostile power, so my heart,
forever faithful, bears an
armor no force can rend :"
What is throbbing. throbbing
in my ear, what is beating,
beating loud and clear-a
heart true as gold. to have and
to hold" The climax of Gug-
lielmo's racy aria is a repeated
quizzical "perche?", which
comes out a Grass "I wonder
why?" When the girls are
discovered In their treachery
they sing: Il have never been
SO frightened, SO upset and so
bewildered."
Furthermore, the recitatives,
which are an artistic inten-
siflcation of the natural in
flections of speech, always
sound forced and artificial in
English, as they do In Ger
man. Mozart, by the way,
never wrote unaccompanied
Evening star., 1955-01-30

Tony Bennett--Tony could
have two big hits with this
disc, as each side is expertly
handled by the balladeer.
Tunes are. Close Your Eyes"
and Its Too Soon to Know"
columbia 4-40427.)
Howard Rumsey-His Vol.
5 LIP contributes to. his
ascending star. as each tune
is named for the featured
soloist:: His own Howard"
Originally titled Concerto
for DoghouseD; Claude, !"
for pianist Williamson; Bud" !"
for altoist Shank; Coop"
for tenor man Bob Cooper;
stan" for drummer Leyey;
and IS & B." for trumpeter
Stu Williamson and valve
trombonist Bob Enevoldsen.
(Contempory C-2515)
Percy Faith - Bernadine
Read sings a plaintiye IF
Hearts Could Talk" with the
chorus singing the lovely
Blue Mirage" columbia
4-40428.)
Jane Froman--Jane's rich
voice neatly wraps up II Won
der" and the wonderful old
standard, "I'll Never Be the
Same. - Capitol F3033.)
Peter Lind Hayes and Mary
Healy-Two clever sides In
Gould Be I Love Youe and
the topical "The Year We
Fell in Love-" columbia
4-404l9.)
Bill Doggett - Bills own
King Bee" is coupled with
the pretty MY Reverie':; both
are instrumental. (King As
4769.)
Evening star., 1955-01-30

which rhyme comes easily, but
not so English. Since the
earliest days we have had only
a small handful Of verse plays
in rhyme. AL our dramatic
poets wrote in blank verse,
while in Italian and French
blank verse is unthinkable on
the stage. So what is the re-
suit when we have a Mozart
opera sung in English? The
compromise between all the
requisites enumerated above
makes the production sound
about as stylish and aristo-
cratic as Lady Windermere's
Fan" adapted and' produced
by Jackie Gleason.
The audience may under
stand the English, but when
the parts are well sung, it un-
derstands it only too well. It
is bafHed, perhaps subcon-
sciously, by a work of art that
seems to be as refined, as ele-
CANT, as witty as perfect epi-
gram saddled to stage play
the lines of which would Of
fend the producer Of a soap
opera on television.
Mozart, If he were here to-
day, would solve the problem in
the only completely satisfac-
tory way by scorning a revival
and writing an entirely new
opera on an English text.
What it would sound like no
one can tell, but he wrote en-
tirely different music for his
Italian operas than he did for
the ones in German, and it
seems certain that English
would inspire him in fashion
that is beyond even specula-
tion.
But when we today stage
Mozart opera we cannot in
good conscience do it In Eng
lish. 1t may be true that more
people will enjoy 1t in trans
lation. You say so. but you
have no evidence to support
your position, least OF all
the acclaim given the per-
formance of "Cosi" by the Ma
tional Symphony. The people
liked the show. they were en-
thusiastic. A contented Gus
toner does not have an eye
open for improvement. But
note that both the great CEN
tiers of Mozart opera in our
generation Glyndebourne. in
England, and Salzburg. Aus
tria--have played In the orig
inal languages. Is 1t not pos
sible that the delight of the
general public rubbed of from
the appreciation of the con-
noisseur?
II you are still not con-
vinced. ! ask why produce Mo-
zart at all? There are many
more people who would rather
hear Blossom Time" or blue
Moon" Why not consider
them?
Lector---But a Mozart opera
is really entertainment
haps the best there has ever
been. I think Mozart was more
interested In the audience
than In the connoisseur.
Auctor-He could take care
of both. like the authors Of the
New Testament. The point is
that a Mozart opera is no
longer current coin. You can't
remint it, you have TO restore
its original patina. And Mozart
IN EngilSn Is SIMPLY not
Mozart.
Lector--I can see that you
scarcely enjoyed yourself at
the National Symptoms
@Cosi. !"
AuctorYonr sarcasm is out
Of place. my boy. ! did en-
Joy 1t, very much indeed. But
the man In the audience who
was hearing II for the first
time--I wonder what he
thought i. texit, mutteringl.
Lector Really What an
cdious and opinionated old
mani Stubborn. too:
Evening star., 1955-01-30
Cornell Has Bird Record

One Of the most interesting
experiments Mr.. Fassett per-
forms on his record Is the dis
Evening star., 1955-01-30
TODAY.

TODAY.
IRISH FESTIVAL SINGERS Constitu-
ton Hall pm. Prosram Of tradi-
ARdToN GRss I5sn ev1c silf ;0nsi sPs Ssad oR
dussor; Daniel Maj.sEs. violin. s'' wsRe- sSe-
sif sh ssaSI Eshe heaP5ssse sins
lcarmenl. Bizet: Concerto in b, Opus
YRcA essn1ESar sTTDENr RECITAL. zaides
ass Mysr WaIlsE ,,,a yiolin k3ssT
piano. barker Hail. pm. Love
has eyes, Bishop: Nymphs and shep-
herds. Purcell; Lo! Here Here the gentle
Strauss: Er lists, Wolf: sonata No. 5,
m Me.as. os.,ds RhaPsodis sdn,s,1 g a1shsTP
chose ieEsrs, Saint -sasns: IRE Nig6s.
ingale and the. Rose. saint-saens
villanelle des petits canards, chabrisr
wAsHk1NaToN cATHEpRAL CHOIR.
ss. sGR casafGral saeS: lM.snies. csSss GiBSon.n n
gehutS: i,, 5shSvs: !l,. Guam pslst supt
ecclesiis, Bach; Flgue In ; nat. Bach
soioists: Armand Harkless, tenor;
AMsRIcAN RSsn GEanf. u.NIvEssf1Y sRSfsissf1 QUARTET
Phillips Gallery, pm. Three Quar-
tets. Vivsidi; Quartet. Ravei; Quartet
sfHH1oR In rain1Ei srupENT Ma'Rn 'REcrrAL washing.
ton Musical Institute, pm. Program
piano; Curtis Cembs. tenor; J. Robert
seSrsno; ssss%oa ySi.G yh9In dasith sSils snS
Armand Thierry. tenor; Ruth Payne,
piano; villa MaielinL soprano; Sally
NATfoNbi. GALLERY ORCHESTRA.
sorin. piano. Nstional Gallery. 8 pm
esrsnine esTso n II as opus ss w. esh sseshoven h
TOMORROW.
MARGARET BARTHEL. piano. Phillips
Gallery. sac Pm Partsta ..cs 10. Ii 5n B 3
Sonata No. Z, Prokoneff: sonata in i
GhildTsn," Prokofsfi; Bailade in A
TUESDAY.
DIR. wESTERvELTE RoMAINE. r. A. @.
@, organ recital Church Of the
AUGSBURG ssuTSs'' COLLEGE CHOIR. Leland
B. Sateren, conductor. Reformation
Within, 18th century chorale; Cantate
Domino Pitoni; o oil .ye that pass by.
Hittoria: Sing ys @ the Lord. Bach:
ThankssiyinE motel. Arnold Mendels-.
ISah psIl1s sr as zen h@lnnsl @ tfS bisSs. psRl.6
tdrsensiesvssl. Trsditional; ii Time and
sse asElsn iaaassP folEtans; Prayers s 3. Steel,
aod oar strsnss shs Martin shaw uRso Rs
Drum K; Davis; wake, Awake,
uNTfGD HlfGisi-sfflfIlsn'fhi sfaTEs aRMy BAND MAI
Hugh Garry, conductor; Dolores VIII
son. soprano; KeiE Garyin, trombone.
Inyinclble EAGLE March. sousa; Icarni-
val Overture, Dyorak: Irmelin. Delius:
Moroccan Symphoniaue. Guilmant; Ma
Rhapsody, SaI. sS could: id: rnVitation to tSs
Dance, Weber; Una yoce. POGO ia,
Rossini; The last rose q Summer;
Irish Air: Granada. Lara. Prelude and
FuRue in @ minor, Bach.
= WEDNESDAY.
NAIIoNAsL q nssI nsYsHonYd GS5ds,a1 oacHEsTRa W.s.;
Mann, lutte; conssitution Hall $50
Poem, for fute and orchestra, Critics:
Nm9hGns No IN a. 70 Opus 81 iSa seethsyen. hp"'".
Snrf snd ssus Bss Al drtassssl p.ss 70 PssaaSs ssS
aea essioyfs sSs FstRsr. RsRsi a sssh; t@l,oe @ bst
Now thank we ali our God. Kars-
Ebert: Behold. q rose is blooming,
Brahms; Scherzo ffrom End SYM
phonyl. vierne: Concerto No. 8 in r
THURSDAY.
NATIONAL SYMPHONY ORCHESTRA,
Howard Mitchell. conductor. Waiiaee
Mann, mute; Paul Hume narrator;
Hall pm Overture and Finale
from the Water Music, Handel; Wood
wind Demonstration; Poem for flute
Evening star., 1955-01-30

No concerts scheduled.