davidaulloa/AmericanStories huggingface dataset:
Evening star. [volume] (Washington, D.C.) 1854-1972, 1959-08-30
Beetles

The japanese beetles are no
longer devouring the leaves and
flowers and fruits. Their eggs.
however, are Matching and the
young larvae will soon be feed
ing on the grass roots in the
lawn. Apply the milky spore
disease and chlordane.
Evening star. [volume] (Washington, D.C.) 1854-1972, 1959-08-30
Stake Flowers

If the heavy-headed hardy
asters have not been staked
they should be. Fall rains and
wind will ruin them unless they
are staked. OF course, the
dahlias and chrySanthemums
Evening star. [volume] (Washington, D.C.) 1854-1972, 1959-08-30
Peas, Spinach

Now is the time to put in the
last planting of garden peas,
and the first paintings Of spin
ach, radish and lettuce for the
fall garden.
Evening star. [volume] (Washington, D.C.) 1854-1972, 1959-08-30
Prolific SunfIower

:. Astlnflower that has produced
~ heads, IA of which are in
bloom. is reported by Mrs. r. E.
Thomas of Rockville, Md.
Evening star. [volume] (Washington, D.C.) 1854-1972, 1959-08-30
Show Care

Flower and harvest shows
will be with us before long.
Keep plants from which speci-
mems will be taken for display
free from insect and disease
injury. 1t is probably too late
to fertilize them but they can
be kept watered and sprayed
or busted. Some kinds should
be disbudded.
Evening star. [volume] (Washington, D.C.) 1854-1972, 1959-08-30
Many Problems Arise
On FertiIizing Lawns

ten nitrogen fertilizer and
should be applied after a rain
or watering to prevent injury
to the grass. Because 1t can
burn the foliage, the lawn
should be sprinkled immedi-
ately after the fertilizer is ap-
piled.
Retarded SOlubility
Urea-form. is a general term,
referring to urea that has been
treated to slow down its solu-
bility. Such nitrogens. and there
are a number Of them on the
market today. are more expen-
sive than the nitrate Of soda or
sulphate Of ammonia that were
the principal sources a few
years ago. They gradually re-
lease the nitrogen over a period
Of several weeks, hence the
grass makes a steadier growth
and there is less loss through
teaching.
The standard fertilizer mix
lures are still the mainstay Of
the lawn feeding program.
Some Of the mixtures available
contain the slow-acting. nom
burning forms of nitrogen.
Where such are used it is not
necessary to wash the fertilizer
of the grass in order to avoid
burning.
How Much to Use
The quantity Of fertilizer to
apply to the lawn, be it a new
one or one that is established,
will vary according to the kind
Of material used. AS indicated
above the liquid fertilizer APP
pliers will regulate the amount.
The amount of urea, also men,
toned above, is 8 pounds per
1000 square feet for bluegrass
lawns, lightly less for fescue
and should be split. half in the
spring and half in the fall. The
urea-form nitrogen can be APP
piled much more heavily than
the nitrate of soda or ammo
mum sulphate because of the
slow release of the nitrogen.
However. 3 to S pounds per L.
900 square feet should be ade-
quate.
When applying a mixed fer
tilizer such as the familiar s.
los or similar formula. the
recommendations vary from Is
to IS pounds per 1000 square
feet. A 30-pound application
will only supply as much nitro
gen as 3 pounds of urea. A
higher analysis fertilizer such
as an 1874. or a 1864 might
well be used at a lower rate,
assuming that the yard only
needs 3 pounds of nitrogen per
1000 square feet. This point is
debatable since our soils vary
greatly in fertility and because
Of teaching.
Evening star. [volume] (Washington, D.C.) 1854-1972, 1959-08-30
THIS WEEK
IN THE GARDEN

should also be securely tied to
stakes II they are to be pro-
tected from wind and rain.
Evening star. [volume] (Washington, D.C.) 1854-1972, 1959-08-30
ST SPECIALS
Unusual Imported Bulbs

UnusuoT Imported Bulbs
Any Six 81 Items, IS Any Twelve 81 items, 50
so DoffodiI and Norcissus, Mixed----$l
SO Grape Hyocinths-
so HeroIds of Spring Bulb Mix------$l
Is Golden Glory offodiIs---------$l
IS King Alfred Doffodis-
so Poets Norcissus, White
80 Wood Hyocinths
so Golden Trumpet DoffodiIs--------$I
Evening star. [volume] (Washington, D.C.) 1854-1972, 1959-03-15

have too many meanings. as
each auditor hears the
melodic and harmonic pro-
gressions, thrown out Of
conventional context, in some
personal context Of his own.
But with Berg. the magic is
that what Is completely I'M
familiar does not seem there
fore completely strange. but
rather quite fitting the Sit
uation on the stage.
The Nets sets by Caspar
Neher distort familiar OBJ
jects by making them low in
height, so that humans
against them often become
weird giants. Often two loca-
tons are indicated - the
backdrop is the outdoor situa-
ton. while against it two or
more rooms are created
without ceiling. The eerieness
Of the terrible insanity Of the
story is intensified. so ] am
assured, by having the cos
tunes represent several diff
ferent periods Of history-a
Evening star. [volume] (Washington, D.C.) 1854-1972, 1959-03-15
HANDEL TIE DEUM

Having fused about the
shortage of commemorative
Handel. I am duty bound to
report the arrival Of a re-
cording Of the Dettingen TIE
Deum. a work geographically
so designated because Of a
military event recorded dur
ing the war of the Austrian
Succession.
A fine. militant, often
"Messiah"-like work (the
oratorio was finished only a
year or so earlier), the music
somewhat perplexingly is
heard on an Epic disc per-
formed in slightly suspect
English at the Holland Fes-
tival by the Netherlands
Bach Society. But the sing
ing is lusty and the good will
is signalized by the prelimi-
nary Ginning Of aftune from
The Harmonious Black
smith" from the carlton
tower Of St. Johns Church
in Gouda, so one should &C
cept the circumstances with
as much gratitude as pre-
sumably that with which the
1743 Netherlanders greeted
the aScendancy of the Eng
lish and their Hanoverian
King George II over the
French. Danke schoen, Epic.
No texts.
Evening star. [volume] (Washington, D.C.) 1854-1972, 1959-03-15
BY JAMES q. DEANE
star Record Critic

Even Mozart had his light
or moments. Westminster has
issued . record which sup
plies Q curious glimpse Of
some Of them. It contains a
group Of canons which the
composer wrote TO amuse his
viennese friends. Mozart
contributed texts as well as
music.
Some Of the verses are not
suited to the front parlor.
The Vienna Academy Chorus
on the record uses In sew
eral cases substitute texts
thoughtfully devised by
Breitkopf and Haertel, the
publishers. And a censor has
been busy on Westminster's
translations.
Mozart's beer-garden hui
NOR makes q curious contrast
with religious pieces and seri-
Gus songs on the reverse Of
the disc. The singers are ade-
quate. This sort of record,
though. cries for stereo.
So does the D minor Re-
QUEEN, also newly available
in a Westminster edition led
by Hermann Scherchen as
well as an EMI-Capitol one
involving Berlin forces con-
Quoted by Rudolph Kempe
land. for the record, still an
other Epic edition not re-
ceived). Like an earlier 60
round with the same Vienna
choir and orchestra but diff
ferent soloists (this time
Sena Jurinac. Lucretia West,
Hans Loeffler and Frederick
Guthrie, the Scherchen eff
fort has both its strong and
its weak points, the latter in
cluding some odd pacing
(e.g., opening tends to plod,
but the Lachrymosa is need
lessly rushed The Kempe
edition at first seems on the
tepid side but steadily ac-
cumulates potency, and it
also benefits by the spacious
ness Of its overall sound. So
loists: Elisabeth Gruemmer,
Marga Hoeffgen, Josef Trax-
ell and Gottlob Prick.
With the attractions Of a
Bruno Walter edition, for ex-
ample, already established it
is a little difficult to sue
cumb to any new competitor,
especially non-stereo. But the
Westminster (monauraD is
sue is enhanced by a fourth
side (Scherchen's mass spans
three devoted to the famil-
lar Ave Verum Corpus plus
Evening star. [volume] (Washington, D.C.) 1854-1972, 1959-03-15

the very nature Of the beast
they are destined to be fall
ures, they must be leaders;
otherwise, as was said Of the
balm for the feet Of Jesus,
ito what purpose is this
waste?"
However, there is In this
case a twist that I report but
cannot explain. Time maya
zine says that the house was
heavily papered. 1t may be
so. I do know, however, that
since 1881, when ! saw the
first Of hundreds Of operas.
I have never personally ex-
perienced SO wildly an enthu-
siastic audience. There were
no curtain calls until the end
Of the performance, partly
because the i've scenes Of
each act are connected by
musical interludes, but after
the show was over the audi
ence applauded, cheered. and
cried for 20 minutes or more
so long, in fact. that hav-
ing reached the door I was
turned back by q last salvo
which I could only suppose
was in recognition Of q res
surrected Berg.
I have always loved "Woz-
zeck," and my association
with it must be nearly unique,
Of some interest to those who
wonder in what manner mu-
sic appeals to the ear or
mind. My mind was q true
t1bulG raSG, when I heard q
performance Of "Wozzeck"
under Leopold Stokowsh
with the Philadelphia Opera
Company, for it was the first
opera I had ever heard and
almost the first piece Of long
hair music. I do not pretend
to remember my precise re-
actions, but 1t is a fact that
having no preconceived ideas
about melody. harmony. the
twelve-tone system, or bel
canto. I thought the show
terrific.
Its appeal. I imagine, is
two-fold. There is no musical
stage work more powerful as
drama. and there are few in
which the music. of what
ever style or degree of Ca
cophony. is so sensitively suit
ed to the human voice. The
great difficulty the modern
composer has when he frees
himself Of the conventions OF
major and minor and tonic
and dominant is not so much
that his music will have nc
meaning but that it will
Evening star. [volume] (Washington, D.C.) 1854-1972, 1959-03-15

successful effect. for while I
was aware Of the pathology.
! had to be told afterwards
Of the anacronisms of the
costumes, which I had not
noticed.
The direction. generally
speaking, was unusually eff
fecAve. Hermann Uhde. as
Wozzeck, was a red-headed
lout. a German soldier. the
victim Of everything-the
sadistic intellectually Of his
captain and his doctor. and
the brutal humanity Of his
woman and her lover. The
whole show was not tradi-
tional opera direction, but the
staging of real drama. The
great weakness was the con-
ception of Karl Doench. as
the doctor. He was always a
comic and preposterous idiot,
rather than a cruel and pol
ished megalomaniac. Marie's
child. the center Of the
entire last scene. was per-
haps about 10 and should
have been about z and looked
3. Furthermore, she froze on
stage, watching the prompter
flxedly, rather than hopping
about on her hobbyhorse in
complete unconcern. The eff
feet was gone-as melodra-
matte q moment as there is in
opera. when her playmates
tell her with perhaps a trace
Of cruelty that her mother is
murdered down by the quick
sand. the little child Is quite
misunderstanding and I'M
affected.
Mr.. Uhde vas not the only
good actor Of the evening.
Eleanor Steber, as Marie, was
q perfect heavy an unattrac-
tive tramp, but one not un-
touched by humanity, how
ever warped. Paul FRANKIE,
the captain, and Charles An
thony, Wozzeck's friend, were
both exceptionally good in
their portrayals. as were the
many minor characters.
Vocally, Miss Steber was
not at her best. She sang
with power. but her voice
was harsh and strident even
when Berg does not expect
these qualities. Mr.. Uhde,
whom I had not heard before,
sang the long and extraor-
dinarily taxing role beauti-
fully, while Paul FRANKIE was
the very reincarnation Of the
Evening star. [volume] (Washington, D.C.) 1854-1972, 1959-03-15
TURNTABLE TALK
Censor's Pencil
Revises Mozort

three relatively unknown
works. a lovely Sancta Maria
TX. 273). ate Deum TX. l4D
written at Is, and an unfin-
ished but mastery Regina
Coeli TX. AMI. 1l8) made
serviceable by repeating what
Mozart completed. For these
(led by Rene Leibowitz)
Scher c h e ms idiosyncrasies
may be tolerable even to the
intolerant.
Other worthwhile recent
Mozartian issues: Vols. 5
mos. IS through 20) and 6
mos. 81 through 24) Of
Leinsdorf's symphonic series
with the philharmonic SYM
phony Of London" (Westmin-
ster); Vol. / (Sonatas X. 19D,
357. 358 and 38D In O new
four-hand keyboard series by
Ingrid Haebler and Ludwig
Hoffman, (Vox); Serenata
Notturna in D TX. 239) per-
formed by Boehm and the
Berlin Philharmonic, with a
set Of Roger variations on a
theme from the A major So
nata K. 331 (Decca). II one
dislikes Roger the last rather
poses a problem.
Evening star. [volume] (Washington, D.C.) 1854-1972, 1959-03-15
captain. in sound as well as

captain. In sound as well as
in appearance and action.
The many subordinate roles
were all well sung. that Of
Mr.. Anthony deserving espe-
cial commentator.
The Metropolitan orchestra,
under Karl Boehm. played
with precision, brilliance Of
tone and suppleness Of ensem-
BILE which it has. in my ex-
perience, never before APP
preached. even remotely. One
does not often think OF the
Metropolitan as a great"
orchestra-it is either poor
or inconspicuous, but in
"Wozzeck." a superlative test
Of any orchestra, 1t is out
standing.
Berg's text is partly sung,
partly spoken, and partly de-
livered in something not
quite "sprechstimme" but
rather an undulating approx
nation Of the melodic line.
The Met decided to translate
the German into English. The
translation seems to me a
mistake that has not a single
compensatory feature. In the
first place all that was un-
derStandable was an occa-
sional intersection. None Of
the more involved dialog
could be followed in English,
and the auditors futile at
tempt to do so threw him out
Of sympathy with the musi-
cal phrase. Furthermore, the
word is Of the greatest impor-
lance with Berg. as it is. say,
with Monteverdi. His skill In
always exposing the voice
no matter how heavy the
orchestration, is phenomenal
Since what was exposed wa:
gibberish that sounded un-
like what the composer hac
in mind and that always hac
a different pace and inflec-
ton than what was wanted
I can offer no justification fol
presenting "Wozzeck" in Eng.
lish other than to pander tt
a contemporary but probably
transitory prejudice that nov
is abroad in our land. What
ever else it obScures, however
"WoZzeck's" English should
not hide the fact that in thi!
new production the Met ha.
achieved something which
wins for the old opera com.
pany the unbounded admira.
ton Of every music lover.
Evening star. [volume] (Washington, D.C.) 1854-1972, 1959-03-15

cal dramas OF the 10th CEN
fury, is not difficult to under
stand.
1t is an extremely expen-
sive show to mount, and it
has the reputation Of being
caviar to the general; indeed,
1t would not be an exaggera-
ton to say that the music OF
Berg, even more than that
of his master Schonberg. is
poison to the average man
the type of what he dislikes
in long hair music.
Then the fifteen scenes OF
the work require ten different
sets-an item Of extraordi-
naryexpense even in the world
Of opera where the cost can
seldom be contained within
the limit indicated by a max
4imum ticket sale. But this
expense, I feel sure. is not
the greatest-the orchestra
is one Of 1l3 players, a gigan-
tic affair that dwarfs even
the largest symphony. Now it
would be clearly absurd. If
-one decides to put on "Woz-
zeck" at all, not to put 1t on
magnificently. 1t is a labor
of love or it is nothing. Ma
thaniel Merrill. one Of the
directors of the Met, al
though not the director Of
"Wozzeck," which was done
by Herbert Graf. told me
that there were ~ full or
chestral rehearsals Of the
score. q truly fantastic num-
Der for any American pro-
duction, since here orchestral
music is paid for by the hour
rather than by the year. as
In most European opera
houses.
So there can be- nothing
but the sincerest admiration
for the Met and for the
Francis Goelet Foundation.
that picked up some or all
Of the check, for both the de-
termination and the skill to
produce "Wozzeck." and
create q brilliant production.
It would have been worth
while, in my opinion. If only
a single person in the audi
ence had enjoyed it. for it is
the responsibility Of the Met
ropolitan, which calls itself
the leader, and which in fact
is, in many respects. the
leader of opera in this coun-
try, to produce the master
pieces for which only it has
the facilities. regardless Of
the demand. Opera compa-
mics, unlike many other pur-
veyors of popular entertain
ment, are bound to be ex-
pensive luxuries. Since by
Evening star. [volume] (Washington, D.C.) 1854-1972, 1959-03-15
STRING PLAYERS

j. Martin Emerson, secre-
tary of Local 16l of the
American Federation of Mu-
sicians. has announced a
competition for string play
ers between the ages of Is
and 81 residing in metro
politan Washington. VIM
ners Of the contest will be
awarded a scholarship at
Greenleaf Lake, near Tulsa,
Oklahoma, to study violin,
viola, cello or bass with out
standing teachers of these
instruments. Further infor-
nation and application
blanks may be obtained from
Mr.. Emerson at the D. c.
federation Headquarters.
HOS Sixteenth street NV.
Phone National 8-3726.
Evening star. [volume] (Washington, D.C.) 1854-1972, 1959-03-15
TOMORROW

AUGUSTA SCHEIBER, piano. Phillips
Gallery. $50 pm Sonata In A, l.
429, Scarlatti: Sonata in E, L. 430.
Scarlatti: Sonata in F minor L. rs
Scarlatti: Sonata in B flat. Opus
Posthumos. Schubert. Adagio In +,
HAYDN; Fantasia in c, Haydn: Poems
Of the Sea, Bloch.
MANUEL VEGA, piano. Pan American
Union. 500 pm. Partita No. 3 In A
minor. Bach: Sonata Opus 81 in r.
Beethoven: Fantasy Opus II in c,
Schumann: Ballade Opus IS in @
minor: Chopin: Berceuse Opus 81 in
d flat. Chopin: Prelude Opus 2s No
10 In b flat minor, Chopin: Choro
No. 5, Villa-Lobos: Danca do Indio
Branco, Villa-Lobos.
Evening star. [volume] (Washington, D.C.) 1854-1972, 1959-03-15
PROGRAM OF THE WEEK
TODAY

FIRST BAPTIST CHURCH CHOIR.
Mildred Hodges, soprano: Lee Parker,
alto; Frank Hirshell. tenor: william
Graham, bass: Lillian Messieks. or
gan. First Baptist Church. IL an.
Part II Of The Messiah, Handel.
WASHINGTON HELLENIC CHORAL
SOCIETY. George Names. conductor.
soloists: Katherine Hansel. soprano:
kin. tenor: Robert Kerns, baritone:
Johann karatzas, tenor. Constitution
Hall. 8 pm. Joshua, Handel.
CHARLES cRowDER. piano. Catholic
University, ) pm. Sonata in c minor,
L. 352. Scarlatti: Sonata in c, L.
1O4, Scarlattt: Sonata X. esq, Mo-
zart; Sonata No: 2, Hindemith; Les
Soirees de Nazelles.
UNIVERSITY OF RICHMOND CHOIR.
James Erb. director. WASHINGTON
Cathedral. 4 Pm. Wondrous Love.
Komm, Jesu. Komm, Bach.
CONCERT ART WINDS: Milton Ber-
Eey; flute: Richard Waller. clarinet:
Richard Kanter, oboe; James Basta,
horn; Gerald Corey. bassoon. Assist
ing artist: Angelo FOrtini, clarinet.
Unitarian Church OF Arlington, Va,
pm. Sarabande In B minor. Bach:
Old French Dances. scherrer: Par
tia for Woodwind Quintet. Fine;
Divertimento No. 9. Mozart: Suite
for Woodwind Quintet, Lefevbre.
HUNTER SAWYER. baritone: Paul HiF-
inbotham, piano: Ellen veFnOff, pi-
ano. Barker Hall, YWCA, 4 pm She
never told her love, Haydn: Where'er
you walk. Handel. Prelude In z mi
nor. zipoli; Prelude in c. Kirnberger:
Rondo in z flat Hummel: Auf meinen
HT0ggen arhmHFyAn. Franz dem
rothen Mundchen. Franz; Is hat die
Rose SIGH beklagt, Franz: GenesunR.
Franz: Fur Musk. Franz: Jai pleuTe
en- Reeve. Hue; Ouvre ties yeuy bleus,
Consolation in z, List: Shadow
Dance. Mcdowell: Folk Songs, Bar
tok: Waltz in c. Poulenc Recon-
pense. Schumann: You are the Tide
6nodgrass; oh the Fierce Delight,
Malotte: Life. Curran.
ST. MARoARETs EPISCOPAL CHOIR,
/ Robert hickman. organist and choir
prano: Patricia Raytkwich. contral-
to: Philip Baxter, tenor; David Law
| RE. baritone. st. Margaret's Church,
! pm. REQUIEM. Mozart.
/ ST LUKEs EPISCOPAL CHURCH
! CHOIR. Willis A. Hines. director. So
| loist: Roberta Long, soprano; Star
| Hing Hstehett, tenor Y bert Norris,
baritone; James b; Jones', organ. 81
Luke's Episcopal Church. 6 pm. Re-
QUEEN, Faure
SANCTUARY CHOIR OF MEN AND
! BOYS. Lawrence Sears, director
Shrine Of the Most Blessed Sacra-
ment, 7:45 pm. Soloists: James Gil
Ieran, baritone; John Yard. bass: JO-
SET Ce-wonka, tenor. Gregorian
Chant Passion
FELDMAN STRING QUARTET: Dora
Ms-sha'l Short and Lawrence Med
nick. viollns; Ronald Marshall, viola
Janet McCarrOn, cello. National Gal
lery OF Art. 3 pm. Quartet IN F,
Ravel; Quartet in C minor, Opus 81,
No. /, Brahms.
Evening star. [volume] (Washington, D.C.) 1854-1972, 1959-03-15
WEDNESDAY

SYMPHONY ORCHESTRA.
Howard Mitchell, conductor, Soloist :
$50 D.m. Repeating Tuesday eve
ning's program.
UNITED STATES AIR FORCE SYM
PHONY ORCHESTRA, Col. GeOTge 8
Howard, conductor. Soloist: Max See
both, piano. Pan American Union,
Victor. NatiYe Teremonv for oTchss.
ira, Uribe-H6lguin; Concerto fol
Evening star. [volume] (Washington, D.C.) 1854-1972, 1959-03-15
NEWS OF MUSIC
Wozzeck' Production
Is Tribute to Met
BY DAY THORPE
star Music critic

trip to New York last week to the Metropolitan Operas
premiere of Aban Berg "Wozzeck" turned out for
of the most fascinating musical experiences Of the season.
That opera of Berg seldom performed although is
conventonay spoken Of with Peleas and Mesande" and
1.-THE Raes Progress Of the three outstanding mus
Evening star. [volume] (Washington, D.C.) 1854-1972, 1959-03-15

in Baltimore, Wednesday at
7 pm. Applicants may sing
anything they choose. An
accompanist will be provided.
Evening star. [volume] (Washington, D.C.) 1854-1972, 1959-03-15
TUESDAY

NATIONAL SYMPHONY ORCHESTRA,
Howard Mitchell, conductor Soloist:
Isaac Stern, violin. Constitution Hall,
$3.50 pm. Suite from Royal Fire
works Music, Handel-Harty: Sym
phony No. 2, Opus 40, Arnold: Con-
certo in D. Opus II, Brahms.
HERBERT HENKE, bass. Charlton
Meyer, piano. McKeldin Library. Uni
,ersity of Maryland, 8 pm Music by
Bach, Greene. Humphrey, Lullv
Handel: Psisiello, Mozart, Verdi
Wolf. VauRhan-Williams. Naginski
Dougherty
Evening star. [volume] (Washington, D.C.) 1854-1972, 1959-03-15
MANON LESCAUT CHORUS

Rosa Ponselle is looking for
chorus singers for her forth
coming production of Puc-
cini's "Manon Lescaut," to be
given in Baltimore May l
and 2. Additions will be held
in the Eastern High School