davidaulloa/AmericanStories huggingface dataset:
Evening star. [volume] (Washington, D.C.) 1854-1972, 1962-11-04

Of Music building at 1920
street and Claremont avenue
has been purchased by the
Manhattan School of Music.
The date of transfer of own
erShip is contingent upon
billiards move into its pro-
posed new building at Lin
coin Center for the Perform
ing Arts, which is scheduled
for completion in 1866.
PARIS: Gilbert Becaud, a
rock : and roll type whose
nickname is MIR. 100000
Volts, is the composer of the
latest opera hit, "The Opera
Of Aran," a full-length ira
ditional work based on a
Robert Flaherty film.
Though he has destroyed mi
crophones by believing into
them, and broken piano
strings by banging on the
piano, the young composer
was classically trained, and
his opera is a resounding
critical success. The critic of
lie Monde compared him to
Puccini.
WORDS ON MUSIC
When the National Sym
phony Orchestra played
Charles Ives Second SYM
phony a few weeks ago, the
work made a profound inn
preston on many in the
audience. Those whose Curl
osity was piqued by the orig
inality of his music now have
an opportunity to satisfy it
regarding the originality Of
his thought. Howard Boat
right of Yale University has
just published what will
surely be the definitive edi-
ton Of Ives prose in Essays
Before a Sonata and Other
Writings by Charles Ives
Morton; So, a fascinating
and revealing anthology. The
Essays Before a Sonata"
were written as preface or
reason for the writer's sec
ond pianoforte sonata" and
constitute Ives main contri-
button to literature. The vol
ume also includes a percep-
tive (if eccentric) essay on
quarter-tonne music as well
as a quantity of non-musical
prose, much of it drawn
from unpublished papers in
the Ives Collection at Yale.
This is definitely a book
worth reading and owning.
Evening star. [volume] (Washington, D.C.) 1854-1972, 1962-11-04
FRIDAY

SYMPHONY ORCHESTRA,
Lloyd Geisler, conductor. Robert e.
Peary High School. 10 and 11:l5
Magic Flute, Mozart: First Move
ment from symphony No. 4. Bee
thoven; Beguine, Ballou; Tales from
the Vienna Woods. Strauss; Excerpts
from Swan Lake Ballet Suite, Tchai-
FRIDAY MORNING MUSIC CLUB.
Powell Auditorium. Cosmos Club.
1880 am. virginia DuIaski, piano:
Carnival. Schumann Elizabeth
+, Breed, Ann Elmquist, violins; GLADYS
Irwin. piano: Musk fur swei Geieen
und Xavier. Dichler. Phyllis Gle
seller, soprano: william Partridge,
piano: An Cloe, Mozart; Die Zufrie-
denhett, Mozart; Du Bist VIE Fine
BLUE. Liszt: Mignon's Lied, Liszt;
blessed the Day. from Solomon,
SYMPHONY ORCHESTRA,
Howard Mitchell. conductor. McDon-
ough Gymnasium, GEORGETOWN Uni
verslty. $3.50 pm. Overture to The
Magic Flute, Mozart; Preludes to
Acts I & III from Lohengrin, Wag-
ner; Daphnis a. Chloe Suite No Q,
ven.
STRING QUARTET (Rob-
ert Mann and Isidore Cohen, violins
Raphael Hillyer, viola; Claus Adam,
cello), Library of Congress, $3.50
pm, Repeating Thursdays program.
Evening star. [volume] (Washington, D.C.) 1854-1972, 1962-11-04

symphony No. 8 in D. op. 20,
Tchaikovsky.
IATIONAL SYMPHONY ORCHESTRA,
Howard Mitchell, conductor. Consti-
tuition Hall, $50 pm. Convention
Concert for o. s. Savings a. Loan
Rossini; PreludeS to Acts I and III
from Lohengrin, Wagner; Allegro con
grazia and March, from Symphony
No. 8 in B Minor, Tchaikovsky;
Adagio for Strings, Barber; Tales
from the Vienna Woods. Strauss;
An American in Paris. Gershwin.
Evening star. [volume] (Washington, D.C.) 1854-1972, 1962-11-04

Joan Erbe, one of several
Baltimore painters seen here
at IFA, is there now with
a new collection of her mis-
shapen and ill-begotten
creatures from the lower
depths of human conscious
ness. AS in Boris Karloff's
finest hour, you soon and
subtly come to sympathize
with these monsters instead
Of merely being aghast.
Most of them are pictured
fairly close on, their swollen
bodies occupying most of the
canvas area. Space around
them, therefore, is limited to
that between them and the
visual picture. plane and Miss.
Erbe fills this space with
murky paint. Often the eff
feet is like that of looking
at a drowned body floating
near the surface of the wa
ter. The face and usually at
least one hand are clearly
seen; the rest is DINNER. But
the creatures are not dead
and that's the pity of it.
Within each is a spark of
life and even of awareness,
hopelessly imprisoned in the
bulk.
Contributing to the ulti-
mate horror, too, is the
painters restrained use of
brilliant color for such COM
panions as a huge fish, an
angry owl or a flower.
Evening star. [volume] (Washington, D.C.) 1854-1972, 1962-11-04

the show would have been the
better without the earlier
paintings, those done before
Kline, as they say, found
himself" in his typical style
OF huge black strokes over
large areas Of white. The
thought was that these early,
derivative and not partic-
ularly exciting works detract-
ed from the image of Kline
as an authentic culture-hero
Of the 1950s.
In Retrospect
Mrs. Breeskin, believing
that a retrospective show
should truly look back, as
sembled the exhibition to look
all the way back. AS a result
almost half the paintings in
the show are non-Klines, in
a sense. Painted when the
artist was in his late EOS and
throughout his sos, the mod
eStly sized pictures are ade-
quate, competent, undistin-
guished examples of the
American Scene, with the
stress more on places than on
people, plus a few apparently
deliberate efforts to pick up
modern European style,
notably that of Modigliani
and that of Jacques Villon.
The rest of the paintings
are the real Kline in a broad
survey of the major varia-
tions of his black and white
arrangements and many ex-
ampleS of his efforts, from
the mid-50s on, to incorpo-
rate color into his work.
Finally, Mrs. Breeskin COM
piled a vigorously chronology
cal catalogue, illustrated il
generously, added a full bib
biography, and commissioned
Elaine de Kooning, herself
an abstract expressionist and
a friend Of Kline'S, to write
an essay that is both en-
tightening exposition and an
extremely moving personal
document.
Evening star. [volume] (Washington, D.C.) 1854-1972, 1962-11-04
NEWS OF ART AND ARTISTS
Opening Of the Gallery Of Modern Art
Important Cultural Step for Washington
BY FRANK GETLEIN
Star Art Critic

Washington received its
newest addition to institu-
tional art last week with the
opening Of the Washington
Gallery of Modern Art and
its first exhibition, a memoir
ial to and Retrospective of
Franz Kline, the abstract
expressionist painter who
died last May
1t is much too early to
comment intelligently on the
course the new museum will
take. The proposed program
has changed considerably
since the first announce
ments were made last spring
and presumably it is still be-
ing changed to accommodate
availabilities of artists, deal
ers and other museums. 1t is
not an easy thing to start an
art museum from scratch,
Excellent Display
For all the difficulty, Mrs
Adelyn D. Breeskin, drawing
on 80 years experience of
managing a major museum
in Baltimore, has done bril-
liantly on several counts. The
old house on 21st street has
had its original large spaces
restored, a coat of white
paint has pulled it all to-
gether, and the large panels
blocking out the windows,
with the unobtrusively eff
Gent new lighting, have Gre
ated a machine for looking
at pictures" as impressive as
any of the new, small art
museums recently built
around the country. The ma
chine note, which can easily
be antiseptic and sterile, is
softened by a few comfort
able modern seats, which also
provide spots of color in the
rooms.
The choice Of Franz Kline
for the opener was also bril-
liant. The art movement of
which he was a leader has
been perhaps the most highly
personal in art history, with
a consistent tendency on the
part Of painters and their adj
mirers to blur and even elm
mate the formerly obvious
distinction between an artist
and his work. That being so,
the death Of a painter strikes
many people as much more
keenly tragic than other
deaths usually strike the liy-
ing, not personally connected
with the deceased.
MOmentuOus Experience
Hence, the first memorial
exhibition Of a painter who
has died becomes a momen-
tous experience, creates a
resonance throughout the
art world and, in the case Of
Franz Kline, almost certain
ly attracted the enthusiastic
participation of New York
artists who might well not
have bothered about the orig
inally scheduled opening
show Of the major innovators
of the century.
Having made the decision
to open with Kline, Mrs.
Breeskin proceeded to assem-
BILE the exhibition with the
same wisdom and with an
exemplary degree of profess
Sional integrity. Several early
viewers Of the exhibition, mo-
tivated by a deep feeling for
the painter. suggested that
Evening star. [volume] (Washington, D.C.) 1854-1972, 1962-11-04

Jazz Sextet. The audience at
the concert will consist Of
sons and daughters of am
baSSadors and chiefs of mis-
sion in Washington, aged 10
to 10 years.
Visiting Washington last
week were two noted COM
posers from the Soviet Union,
Kara Karayev and ROdin
Shchedrin, the latter secre-
tary Of the board of the
USSR Union of Composers.
Both were in the audience
during Alfred Sellers appear.
ance in the Coolidge Audi
forum Tuesday evening.
+ + y
NEWS FROM THERE
Baltimore: Hamlet, as opera
by Sergius Hagen, will re-
ceive its world premiere at
the Peabody Conservatory on
Friday at 8:15 pm. The
opera uses the Shakespeare
text, is in five acts with two
intermissions and will be
sung in English. Certain of
the minor characters have
been eliminated, and the text
shortened somewhat, but the
original lines have been
otherwise unaltered. Staging
will be by Joseph Papp, and
LaszlO Halasz will conduct.
There will be a repeat per-
formance next Sunday at 8
pm.
MarseiIIes, France: Two
Yankees broadening their ex-
perience in European lyric
theater, Mezzo Regina Res
mix Of the Metropolitan OPP
era and Tenor Richard Mar
tell Of the San Francisco
Opera, had themselves a time
last week at a performance
of Carmen. A clacque in the
gallery took exception to Mar
tells Don Jose, interrupting
the performance with jeers
and catcalls. Resnik, as Car
men, scolded them from the
stage to bring them under
control during the last two
acts. But at final curtain the
unruly clacque erupted again
and the apron of the stage
was covered by a shower of
radishes. The wife of the
mayor said the disturbance
was directed against the ar
tistic director of the Mar
settles Opera, not against the
singer.
e 4 -
BITS AND PIECES-New
York: The JuiIIiard School
Evening star. [volume] (Washington, D.C.) 1854-1972, 1962-11-04

Berger, a highly respected
composer at present teach
ing at Brandeis University,
is the editor.
Mr.. Berger's board of adj
visors consists of Aaron
COPELAND, Ernest Krenek, Da-
RUS Milhaud, Walter Piston,
Roger Sessions, and Igor
Stravinsky. His editorial
board includes some of the
most highly regarded COM
poSers of the day-Milton
Babbitt, Elliott Carter, Lukas
Foss, Leon Kirchner, Billy
Jim Layton, George Perle,
Mel Powell, Gunther Schiller,
and Seymour Shifrin.
The sponsorship Of the
magazine by the Fromm
Music Foundation, Paul
Fromm writes, "is another
expression of our interest in
opening avenues of COM
munication between COM
posers and interested per-
formers and listeners. "Per-
spectives of New Music" even
though it is primarily a
forum for ideas, can become
an active force in the con-
temporary musical world; one
which would draw together
American composers, their
European colleagues, their
fellows in the musical world,
and literate people in every
field"
Contemporary Note
Mr.. Berger and his AS
sociate Editor, Benjamin
Boretz, seem to have a
slightly different idea, how
ever. According to the edi-
torial note they prepared for
the first issue, "Perspectives
of New Music" has been es-
tablished to provide a medi-
UNI for articles that seriously
explore those aspects of con-
temporary music with which
composers find themselves
most deeply involved"
Our principal aim is to
probe as deeply as possible
into fundamental issues that
by their nature must be
treated concretely and
analytically, in terms of
sophisticated methods, and
that require genuine investi-
cation from many different
Sides"
1t strikes me that Mr..
Fromm's mandate is being in
terpreted as more of an ex-
preston Of interest in OPEN
ing avenues of communica-
ton betIOeen composers than
between composers and in
terested performers and lis
tenerS." especially if the titles
of the articles announced for
Vol, l, No. l accurately FORE
cast the future.
Good Promise
OF course, 1t is hazardous
to guess at what the articles
say and how they say it
without having actually read
them. Nevertheless, / am
frank to admit that I am
looking forward to such
pieces as David. Lewin's "a
Theory of Segmental Associa-
ton in Twelve-Tone Music"
Karlheinz Stockhausen's
1.-THE Concept of Unity in
Electronic Music" and Mil
Evening star. [volume] (Washington, D.C.) 1854-1972, 1962-11-04
NEWS OF MUSIC
Big Names in Music
In q New Magazine
By IRVING LOWENS
Star Music Critic

Since the number Of serious magazines to serious
music is so small the imminent arrival promising new
conner qualities a rewsworthy event.
Thanks to the Fromm Music Foundation a journal
dedicated to serious consideration important issues Of
contemporary music and problems the composers called
erspeetVes of New Music" will begin life in the very
future
blueblooded.
Princeton University Press is the publisher Arthur
Evening star. [volume] (Washington, D.C.) 1854-1972, 1962-11-04

ton Rabbits "Twelve-Tone
Rhythmic Structure and the
Electronic Medium" with
something less than eager
anticipation. This sounds like
pretty stiff going to me-
certainly, such titles are a
far cry from those which
used to brighten the pages
of Modern Music"
= \
FISCHER-DIESKAU Ill
The eagerly awaited recital
by the great German BARI
tone, Dietrich Fischer-Dies-
kau, scheduled to take place
on Friday evening, Novem-
Der Is, in Lisner Auditorium,
has been indefinitely post
poned because of the singers
illness.
Mr.. Fischer Dieskau was
stricken with a kidney all
ment after a series of con-
certs in London last week
and had to return to Berlin
for treatment.
His entire three week Amer
lean tour has been temporar-
lily Cancelled = however, an at
tempt will be made to re-
schedule it for later in the
season.
Those holding tickets for
the Lisner concert are re-
quested by the Hayes Con-
cert Bureau to retain them
pending future developments.
y -
NEWS FROM HERE
Two-piano recitals are COM
mon enough in any season,
but two-organ recitalS are SO
rare as to be almost I'M
heard-of. There will be one
at the Washington Cathedral
today at 5 pm, featuring
two resident organists. John
McCreary, organist and
choirmaster of All Souls
Episcopal Church, will be at
the console Of the Cathedral's
great organ; Wilson Town
send, organist and choirmas-
ter Of st. Stephen and the
Incarnation, will play a posi-
tiv organ which will be
moved into the great choir Of
the Cathedral for the occa-
sion. The plan Of the recital
lists is to emphasize the pos
itiv, minimizing the heavy eff
feet of the larger instrument.
On TV today, the contri-
buttons made to musical
theater in America by Com
poser Richard Rodgers will
be acknowledged in a special
Richard Rodgers concert
originating in Carnegie Hall.
The program will be pre-
sented on the Ed Sullivan
Show, WTOP-9, 8 to 9 pm.
All kinds of soloists will be
on hand and Rodgers himself
will conduct the final num-
Der, while Arthur Fielder will
occupy the podium for the
rest of the show.
Over the years the acous-
tics in Constitution Hall
have been the subject Of pro-
and-con discussions among
faithful listeners there. A re-
cent panel discussion over
Ra do Station WGMS
brought out some illuminate
ing comments from DIR. Rich
ard Cook, chief of the sound
section of the National Blu
reau Of Standards, who
stated that a 1888 study Of
the hall made by Bell Tele-
phone Laboratories estab-
lished that the reverberation
rate of Constitution Hall
compared favorably to the
ideal rate. DR.. Cook said that
he has never been especially
conscious of the acoustics at
Constitution Hall, and
acoustics are best If you
don't notice them" So there
you have it.
The fifth Of Mrs. Ken
nedy's series of Musical Pro-
grams for Young People by
Young People will be pre-
sented in the East Room Of
the White House on Mon
day. November 10, at 4 pm.
Tong II Han, a 20-year-old
Korean pianist, will be fea-
tured with the Paul Winter
Evening star. [volume] (Washington, D.C.) 1854-1972, 1962-11-04
National Gallery

One Of the nice things
about the National Gallery
of Art is the way it can
expand the most impressive
of temporary exhibitions out
of its own reserve stock or
other stock readily available.
Last season the gallery per-
formed the dazzling feat of
doubling the visiting British
water color show out of the
Mellon collection. Now the
show at the gallery is the
Chatsworth drawings and the
institution has just about
done it again with drawings
and some water colors out
of its Rosenwald Collection.
Visitors to the ChatSworth
show are urged to continue
on into the four additional
galleries.
The Rosenwald material
enhances the view of Euro
pean drawing on view in the
Chatsworth material. While
the Chatsworth collection
concentrates on the Italian
Renaissance and the 18th
century in Germany and the
Lowland, the Rosenwald
drawings take the viewer
back to the 18th century
with a beautiful Austrian il
Elimination of st. John
debating to st. Bede.
Overlap
On the other end Of time,
the show comes into the 18th
century charms of Tiepolo
and Fragonard, the 18th CEN
fury passion of Daumier and
dream Of Redon. There is a
spectacular run of German
Expressionists and drawings
by the expatriate Americans
Whistler and Cassatt. The
modern French include
Gauguin, Matisse and Duty.
The only major overlap is
in seven drawings by Rem
brandt, figures and scenes
and a penetrating self-por-
trait. This is in addition to
the 10 Rembrandts in the
Chatsworth show, but there's
no such thing as too much
Rembrandt.
To top it off. in the fifth
gallery the Rosenwald collec-
ton demonstrates, almost
casually, what it can do in
dividually with almost any
draughtsman or printman
you care to name. Large size
prints by Tiepolo and Cana
letto line the room, mostly
scenes with figures from the
18th century Most Serene Re-
public.
In this time of mounting
art activity, the visitor, in
addition to savoring the de-
lights of this exhibition ex-
tenson. should ponder, too,
the most serene, humble,
scholarly and fundamentally
effective style of Leasing ].
Rosenwald as benefactor of
art.
Evening star. [volume] (Washington, D.C.) 1854-1972, 1962-11-04

space. The columns get In
the way.
The Corcoran has now
pretty well solved the prob
lem. The staff has rehung
the atrium so as to give at
once a sampling of the
American paintings the gall
lery owns and at the same
time a peripatetic history Of
American painting. The his
tory is far from complete
and it seems rather odd to
end with Josef Albers, but
some high spots are touched
and, walking around, you do
get the sense of what our
artists have been up to for
200 years. With such a pur-
poseful hanging, the columns
serve to set off each example
for individual consideration.
Woman With a Fan
The new installation be-
gins with Smibert's portrait
of Peter Faneuil, whose hall
in Boston figured in the
Revolution. From this period,
TOO, there is a Stuart Wash
ington and a Copley, but the
great one is the Jennys tough
portrait of a woman with q
fan.
There are two of the paint
ing Peales and a matched
pair of homages to Walter
Scott by Thomas Cole. Then
the tempo quickens with
Mount, Bingham and Seth
Eastman'S sporting view Of
Indians playing Lacrosse.
There is the great Healy por- :
trait of Lincoln and an I'M
expectedly excellent Bierstadt
Wild West.
We have now arrived at the
beginnings of American
greatness in art and the in
stallation reveals it in In
ness, Blakelock, Sargent, Cas-
salt, Whistler, eliminating in
Eakins and Homer.
The Ash Can gang is well
represented in Sloan, Glack-
ems and Prendergast and in
the marvellous "Forty-T W o
Kids" by the junior partner,
Bellows.
From here on the build
slackens and we get good pic
lures by Watkins, Raphael
Soyer, Evergood and Hult-
berg but with no real sense
of the Goth century. On the
other hand, the visitor can
easily climb the stairs and
see many of the best painters
OF our century in the Halpert
Collection. 10
Evening star. [volume] (Washington, D.C.) 1854-1972, 1962-11-04
SUNDAY. NOVEMBER II
tFOr Further Details. Consult Next

NEVI TUT IIItT DCVHIISt OOHHuIL NUNE
Sundays Listings)
THE SINGING BOYS OF MEXICO,
Luis Berber, conductor. Constitu-
ton Hall, 3 pm.
LUIS LEGUIA, cello; Robert Kaufman,
piano. The Phillips Collection, 8 pm.
SERGIO FRANCHI. tenor. Constitution
Hall, 1880 pm
ARA BERBERIAN, bass; Charles I'm
derworth, piano, National Gallery Of
Art, 8 pm.
Evening star. [volume] (Washington, D.C.) 1854-1972, 1962-11-04
NATIONAL SYMPHONY oRcHEsTl
SATURDAY

SYMPHONY ORCHESTRA,
Howard Mitchell. conductor. Soloist:
Thomas H. Kerr. Jr., piano. Cram
ton Auditorium. Howard University.
$3.50 pm. Symphony No. s in r,
Beethoyen; First Movement, Con-
inoff; symphony No. 8 in B Minor,
TchaikoYsky.
Evening star. [volume] (Washington, D.C.) 1854-1972, 1962-11-04
WEDNESDAY

NORMAN HEM. clarinet; Charlton
Meyer, piano; Bryce Jordan, flute;
Eugene Griswold, basson McKeldin
Library Auditorium. University OF
Maryland. 8 pm, Sonata. Shaw; Duo
Concertant, Milhaud Serenade for
Flute and Clarinet. Burkhard: soma
tina. Duncan; Trio Pathetiuue. for
Bassoon and Clarinet. Glinka; Con-
cerstueck, Montbrun.
SYMPHONY ORCHESTRA.
Howard Mitchell. conductor. Soloist
Jorge Bolet. piano. Constitution Hall.
$3.50 pm. Repeating Tuesdays pro-
gram
Liza SIMAGLIA-ES piano, Pan
American Union, $3.50 pm. Preludes.
Book ! and II. Debussy.
THEODORE LETTvIN, piano, Rockville
Civic Center Auditorium, Edmonston
drive and Baltimore road. Rockville,
Nd. $50 pm. Program not avail
able.
Evening star. [volume] (Washington, D.C.) 1854-1972, 1962-11-04
On a High Level

In short, against consider
able odds, Mrs. Breeskin tried
to establish the Washington
Gallery of Modern Art on a
high level of professionalism.
The major slip from this high
standard was the unfortunate
printing of the catalogue
cover, on which the color
plate came out upside down,
the result, apparently, of
sloppy checking by one of the
volunteers who necessarily
perform many of the proper
ly professional tasks at the
gallery.
Within this generally ex-
cellent presentation, we are
confronted with the work of
Franz Kline, one of the half
dozen or so authentic orig
inals of the abstract express
sionist movement in Ameri-
can painting. 1t is possible
to look at these enormous
paintings as evidences of an
heroic encounter between an
artist and his materials, be-
tween an artist and his time,
between an artist and his
identity. So viewed, the
paintings can evoke vague
emotions Of admiration and
of regret for a sincere man
who dedicated himself to his
work and who has died.
Large Canvases
1t is also possible - and
it is getting more and more
overdue = to look at these
paintings as paintings. So
viewed, they are large can
vases covered with simple ar
rangements Of black strokes
on white, relieved here and
there by touches of color. In
the later pictures color is
used more largely and some
Of these are very decorative.
The artist obviously had a
nice color sense and he had
thoroughly absorbed the ira
ditional teaching on compost
ton. Despite some very pleas
ant paintings of the Pennsyl-
vania landscape and the
streets of New York, he was
no great shakes as a repre-
Sensational painter and it is
highly unlikely that he ever
would have been. An inquisi-
tive mind, he began painting,
essentially, enormous blow
ups of drawn lines and found,
undoubtedly to his astonish-
ment, that these caused him
to be hailed as a new Mes
Siah.
Franz Kline as a social
phenomenon is much more
interesting than Franz Kline
as a painter.
AS a social phenomenon
he, and his peers in the
American painting Of the
l950s, had broad appeal. He
appealed to our native jim
goism: we had at last pro-
duced a species of modern art