Evening star. [volume] (Washington, D.C.) 1854-1972, 1959-03-16

R arn1n N tsnor Johsnn KarstSSs,
tenor, Robert D.. Kerns. baritone
Russell Woollen. harpsichord, sym
phony orchestra. AZ Constitution
Hall. Oratorio "Johua." Handel
Although almost every cho-
raj work of Handel Of any
length has moments compa-
rable to Messiah" at Its best
few have the sustained gran
deur and variety Of that
piece. Joshua" which was Civ
EN- its first Washington per-
Torrance yesterday in Consti-
tuition Hall. has not so many
of the conventionally Handle
liam" choruses as the better
known masterpiece. but 1t has
an even greater range OF
musical ideas and some effects
unknown to Messiah" (the
Musical sacrilege Of this obser-
vation is not less than the
Christian. and ! do not hesi-
tate to say that after a single
hearing I find 1t a superior
work, suffering only from a less
impressive text.
But since Joshua" has watt
ed more than two centuries for
recognition in washington. II
can wait q paragraph or 50
longer, for the timely news Is
that George Manos has created
in the Hellenic Choral Society.
in the group of soloists he has
brought together and in the or
chestra he has collected q new
and superb Washington musi-
cal organization. The chorus OF
about IS voices-to judge by
the names. about half or o lit
tie more of Greek descent-is
magnificent. Il is unerring IN
attack. limpid in passage work.
panchromatic in tone and solid
in ensemble.
Two Women Excel
All the soloists we're good.
especially Rilla Meryine. who
has sung in many q Washing
ton oratorio. but never IN my
memory with such beautiful
tone and such moving and now
ing style. Katharine Hansei was
no less effective.
OF the three men. Jacob Bar
kin, the Joshua. had the lions
share of the work, including a
great deal Of recitative. I won
der whether he was not mis-
cast. good singer though he Is?
His talen is not essentially dra-
matte, but lyric, and his recita-
tiev is much too static. Johann
Karatzas, who had only a small
part as an angel, 1t seemed to
me had a voice and style much
more suited to Joshua. Robert
Kerns has a beautiful voice. but
the part Of Caleb often lies too
low for it, and in addition he
was inclined to rush his recita-
tive.
Conductor Yields Whole
George Manos is not new to
the local podium. but he has
never before showed himself
to be so excellent conductor,
full Of fire one moment, re-
Taxed and lyrical the next.
welding together the diverse
elements in a long. varied and
brilliant score with the greatest
skill. The orchestra, large for
a Handel oratorio and quite
authentic to my ear. was col
lected for the occasion. / saw
no more than half dozen
familiar faces from where /
was sitting, but in every de-
partment. strings, brass and
woodwind. it was very good
crisp in attacks and responsive
to the conductor. The continue
playing of Russell Woollen was
imaginative and first-rate
throughout.
The most noticeable advance
OF Joshua" over Messiah" is
in the variety of the orchestra
ton. There are concerto num-
bers for voice and solo instru-
ments that remind one OF
Vivaldi, and the brasses are an
integral part of the latter part
of the work. The choruses are
OF a harmonic and textural
subllety far beyond Messiah"
while in some, such as GLORY
to God" the straightforward
power and magnificence of the
more amiliar work is
recaptured.
Touch Of Mozart
Medically. you hear mixed
in with what you expect in
Handel touches Of the later
styles of Haydn and Mozart. as
In the phrase Again shall
Israel bondage know :" Pure
Handel, however. is See. the
conuuering hero comes" that
perfect tune, completely I'M
adorned by Handel, which
Beethoven made his own in his
Handel Variations.
The story of Poshua is a
thriller. and Handels score Is
full of some of the best descrip-
tive touches in all 18th century
music. I'm wat'ry heaps az
frighted Jordan stood" is as
precise and pictorial as the
text; "Breathless they pant
they yield, they fall, they die
is a perfect decrescendo end