1 THE EVENING STAR, Washington, D. C.monpat, DBcntaga s, iwT ' tr r~

News of Music: Virginia String Orchestra Displays Talents of StudentsBy Day Thorpe

The Virgin:* State String Orchestra,Leo Kuclnikt and Prank Wendt, guestconductors. Washincton-Lee HighSchool, Arlington. Program: Cor-nelius March, Mendelssohn; StringSection Suite. Milker; Annie Laurie,arr Zameenik: Quartet No. 1. in Q.De la mar ter; Strtag-a-Ung, Bernard:Burlesca. Scarlatti: Suite in Canonform. Arensky; Folk Tune and'PiddleDance, Fletcher: Andaifte Cantabtle.Opas 11. Tchaikovsky; ChimingStrings. Richardson: Holberg Suite.Opus 40. Orl«g.

Two hundred and ten playersselected -from schools all over theState of Virginia gathered yes-terday in Washington-Lee HighSchool to make music togetherfor their own fun and for thedelectation of almost a thousandrelatives, beaux and sweethearts.

It wak the largest or-chestra this reviewer has seen.

Actually, the orchestra wasdivided into two groups, each ofwhich gave half the program.The first group, called the

' "Workshop Orchestra” underFrank Wendt, was composed ofyounger and less proficient highschool players, 105 strong. Theyoungsters fiddled away withgreat vigor and amazingly goodrhythmic ensemble. The percep-tible difference in the pitchwithin each of the five sectionswas great enough to give aneerie cast to the harmony, butone which a modern composermight well exploit on rare oc-casions. ,

The second group, also of 105players, under Leo Kucinski, wasdrawn from 20 schools. (Twenty-four players, by the way, werefrom Washington-Lee.) Thesemusicians worked together verywell, yet not so well, it is certain,as ieach school contingent wouldhave played by itself, for thelarge grolip had had only a fewrehearsals. The comhined stringsof the National, the Boston, thePhiladelphia, and 17 other or-chestras would show less polishthan any single unit.

Music is a major activity atWashington-Lee. The orchestrarehearses for an hour everyschool day, and members receiveone-half a scholastic credit fortheir work. The organization(not limited to strings) givesseveral concerts a year.

The concert was in itself en-joyable, and the proficiency andenthusiasm of the players werea credit to the music depart-ments of their schools. It wasdisheartening, however, to re-flect on the fact that' all overthe State of Virginia during thepast weeks or months, hundredsof children were reheatsing adozen compositions, most ofthem music of unredeemed ba-nality an<J Inconsequence. It isa fact borne out by extensiveevidence that children, enjoymusic of style and artistic valueIf they are exposed to it; theytake just as readily to “AChild’sGarden of Verses” and "Alice inWonderland” as to trash.

These talented studentsshould be given a repertoire notnecessarily more involved or dif-ficult, but one which would be achallenge to their artistry as wellas to the nimbleness of theirfingers.

String Quartet OffersRecital at Phillips

J h* Claremont string Quartet:Gottlieb and Alflo Pignotti,violins; William Schoen, viola; Irv-ing Klein, cello. At the PhillipsGallery Program: Quartet in E flat,phus 125 No. 1, Schubert: Quartet

’’’ sr>\est5r >\est Bloch; Concertino forP tri?8 .Quartet. Stravinsky; Quartetin F minor Opus 95, Beethoven.

The Claremont String Quartet,formed in- 1953, gave a recitallast nighC at the Phillips Galleryprior to its appearance in TownHall In Nqw York. It is a goodgfoup, the members of whichhave come together from fourrespected organizations theGuilet Quartet, the GordonQuartet, the Horace Britt Trio,and the New Friends of Music.

To judge it first by the Bee-thoven quartet, the most familiarpiece on the program, the new ifellowship seemed technically (able and artistically sound. The (first movement seemed a trifle ;"nervous, even for so excitable a ¦'piece, and the slow movements Jwanted repose and breadth ofline. On the whole, however,the performance was a creditable (one

The Schubert E flat Quartet, ian early work of great charmbut of so little originality that jit might have been written byany one'Of half a dozen com-posers of the period, was a wel-come change in a repertoirethat, in Washington at least, isthoroughly worked over. Thethird quartet of Bloch, dashinglyplayed by the Claremonts, is acompetent but uninspired piece,interesting mainly in the slowmovement, which seems to bea neurotic added variation ofthe fugue that concludes theBrahms-Handel Variations.

‘The Concertino of Stravinskyi$ not a major work, but onrehearing it I find a charmingebullience and dash that escapedme when I wrote of the perform-ance of the Budapest Quartetseveral weeks ago.

D. T.

Organ DedicationMarked by Recital

By Irving LowensRobert 3 Cllpplngrr, organ. Chevy

Chase Methodist Church Program:Flourish for an Occasion, Wolf: Toc-cata and Fugiie In D minor. Bach;How Bright Appears the Morning Star,Buxtehude: The Heavens Declare theGlory of God Marcello: Lullaby onLuther’s Cradle Hymn. Sehmhtx: Noel.Daquln: Greensleeves, Purvis- Carol.Rhapsody, Parvis; Improvisation onIn Dulci Jubilo. Kare-Elert: Lo. Howa Rose E’er Blooming. Brahms: QesuBambino. Yon: Processional on Praiseto the Lord* the Almighty. M. ShawThe dedication of a new organ,

always a major event in the life

of a community church, was con-summated yesterday at ChevyChase Methodist with a recitalby Robert S. Cllppinger, deanof the Harrisburg Chapter of the.American Guild of Organists.

It is good to be able to report

that the $32,000 Shaler Memor-

ial Organ is in every respectworthy of its attractive surround-ings, Itis an instrument 6f whichthe church and the makers, theinternationally famous MollerOrgan Company of Hagerstown,can both be proud. To this re-viewer’s ear, it sounded like oneof the best organs in Washing-ton.

The program selected by Mr.Clippinger was skillfullydesignedto exhibit the wide potentialities

of the instrument, which pos-sesses a clean, full, true organtone, quite individual in charac-ter, but rather reminiscent ofthe forthrightness and excellentbalance of a mod baroque organ.

The suppleness, accuracy, andrhythmic vitality of Mr. Clip-pinger’s playing made it a pleas-ure to hear. This, together witha program Containing such hon-ored names as Bach, Buxtehude,Marcello, Daquln, and Brahms,made the occasion a particularlyfestive one.

With such an outstanding In-strument available, it would bea distinct disappointment ifchurch music qf the highestquality is not in ample evidenceat Chevy Chase MethodistChurch in the future.

Singers PleaseIn Joint Recital

By Homer UlrichJoint recital, Mary Clarke, soprano,

Alfred Crovato. baritone, KathleenVincent and Catherine Whitlock. Ac-companists; Barker Hall. Prograiri:Chi spreuando 11 sommo bene. Han-del; v'eep You No More. Quilter; MyLife’s Delight, Quilter: Night Bong atAmalfi. Matthews: Be Still My Heart,Oiannlnl: There Were Two Swans.Giannini; Ah Twine no Blossoms.Oliere; Vouchsafe O Lord, Handel:Pilgrims Song. Tchalkowsky; Ideale.Tosti; A’ Vuchella. Tostl: Nel cor nlunon mi sento. Paisielle Wonderin’.MacGlmsey: Think on Me, Scott: TheSunset, Tchaikowsky; As SunlightWakens Flowers. Schumann; La Cidarem la Mano. Mozart.

A fresh approach to program-ming marked the joint recital ofMary Clarke and Alfred Crovatoat Barker Hall yesterday. Inplace of the usual groups, eachin a different language. MissClarke essayed a single group ofseven songs, and Mr. Crovato didlikewise. All but four of the 14were in English. A short groupof duets then ended the program.

The two singers represent dif-ferent vocal types. Miss Clarke’ssoprano is controlled perfectlyon the lower dynamic levels; shesings pianissimos beautifullyBut with increasing loudness andin the higher range, her voicetakes on a slightly brittle quality.Perhaps she avoided a real for-tissimo for that reason. Her In-tonation is excellent and hersense of phrasing more than sat-isfactory. The same cannot besaid for her diction.

Mr. Crovato, on the otherhand, allows every word to beunderstood. He possesses a pleas-ing baritone voice, but seldomtakes the trouble to modify itsquality In a word, he just sings.It is unfortunate that his senseof intonation does not match hisgood musical instincts; manytones and whole phrases weresadly out of tune,

Burtis PerformsMasterfully at Organ

By Frank C. CampbellHerbert Burtis, organ. Washington

Cathedral. Program: Three Prelude*on Welsh Hymn Tunes. Vaughan Wil-liams: Messe des Pauvres Satie: Pre-lude and Fugue on Bach, Liszt: Pre-lude on Brother James’ Air, Carol-Prelude on Greensleeves. Wright:Suite One Fifty, Reynold^.

In Herbert Burtis’ WashingtonCathedral organ recital yester-day, Vaughan Williams’ Preludeson Welsh Hymns were masterlyhandlings of the Instrument,

a quiet vein, the second preludeespecially, was of delicate, poeticfabric, as was the Kyrie ofSatie’s Messe des Pauvres withovertones of piety and awe. Inlesser hands, the comparable In-tentions of Searle Wright’s Pre-lude on Brother James’ Air seemsimply cloying, and the tinklingdecorations he pits against"Greensleeves" in another prel- ;ude are only a poor imitation ofFachelbel. At best these two jpieces are harmless fodder forthe church service.

Vaughan Williams, In his thirdprelude, and Satie, in anothermass section, exploit full organresources *vith short movements

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that are little masterpieces ofmarching dissonance and drama,

i Like the Wright pieces, PaulReynolds’ Suite One Fifty wasgiven its Washington premiere

! . yesterday. With sonUrhints fromSowerby, Hindemith# and Mes-siaen. Mr. Reynolds still fash-ions organ sounds of originality.Especially In. the middle sections,as he Bse bf f&e‘e£tective-

- ness: of sharply contrasted solostops, these were imaginativeimpressions beautifully etched in

' Icy hues.Mr. Burtis is a player of taste

and genuinely virtuosic tech-nique. To these traits his play-ing of Liszt's Prelude and Fugueon Bach added mature insight.In his hands the piece was notthe gargantuan monstrosity itoften seems, but an arph-roman-ticist’s creation which, howeverfull of excesses, is possessed ofcompelling vision and opulentpower.

Charles Byrd ShowsSkill in Guitar Recital

Charles Bvrd. guitar. MeseroleStudios cf Music Program: Aria convarlazonl. Frescobaldi: Two Menuets,Handel: Jesu Joy of Man’s Desiring.Bach: Petite Suite en Re Mineur. deVisee; Menuet. Haydn. Valse Y Estudio.Sor; Preludlo Y Mlnuetto, Tarrega;Campo. Ponce; Burgalesa. Tarroba:Sonata. Opus 15, Gulianl.

Guitarist Charles Byrd, a pupilof tne great Spanish virtuosoAndre Segovia, was heard yes-terday afternoon in a fine recital *at the Meserole Studios of Musicin Silver Spring.

It was immediately evidentfrom Mr Byrd’s sensitive play-ing of a pensive, stately “Aria'con Variazone” by the 17th-century master FresCobaldi thatthis guitarist is a musician of nomean talents. This favorablejudgment was strengthened byhis beautifully moulded readingof a little suite along oaroquelines by Robert de Visee, a Frenchlutenist-composer whose name isfrequently found in programs ofquitar music.

The music composed specific-ally for the guitar which Mr.Byrd elected to play was, on thewhole, of genuine substance andinterest. If Mr. Byrd was some-what less successful in projectingthe transcriptions of fairly wellknown miniatures which ap-peared as light relief between thesolid works, this is probablymore of a "eflection upon thewisdom of making such tran-scriptions than it is a criticismof the solosit’s skill.

Mr. Byrd clearly showed thathe is a first-rate artist whoseplaying of a subtle, thoroughlysatisfying chamber instrument iswell worth hearing.

Miller Leads ChoirIn Inspiring Program

Choral Advent Service. Northmln-ster Presbyterian Church. Chancel andSanctuary Choirs. Donald L. Miller,director; Howard S Miller, organ:Jean Heers. Sue Warrell. violins. Pro-gram: Rejoice. Beloved Christians,Buxtehude: Christmas Cantata Lue-beck.

The choral Advent service heldyesterday afternoon at North-

Presbyterian Churchprovedto %fan excellent demon-stration ot just how much anaverage volunteer choir in aneighborhood church can ac-complish in the way qf distinc-tive music-making under thedirection of an imaginative mu-sician.

Conducted by Dcfeald L. Miller,the Chancel and SanctuaryChoirs of the church assisted bytwo violinists and the regularchurch organist offered a pro-gram of unusually high interestfeaturing a Christmas cantataby the obscure baroque composerVincent Luebeck. This naive andutterly charming , music, sungwith affecting simplicity, per-fectly complemented the weight-ier Buxtehude work with whichthe service opened. •

The two cantatas were wellwithin the technical capabilitiesof the singers and had obviouslybeen prepared with loving care.If there were minor flaws in theperformance, certainly to be ex-pected with amateur groups, theintrinsic merit of the music sungmore than amply compensatedfor them.

No doubt it would have been

much easier for Mr. Miller tofavor his congregation withmusic with which they weremore familiar. In that case,however, everyone at Northmin-ster would have been' deprivedof an inspiring musical experi-ence. L L.

Choir of St. LukesPerformance Praised

concert of Contemporary Music.Choir of St Luke's Protestant Epis-copal Church. Willis A. Hines. Choir-master, James B. Jones. ]r., organist.Program: ,A Call to Prayer. Golds-worthy: A Hymn of Joy, Goldsworthy;Benedicite, Williams; By the Waters oiBabylon. Jtmes: All Ye Servants ofthe Lord, Elmore: Psalm 122, Sower-by; Paalm 93 Elmore; Thy KingdomCome, Evans: O How Amiable. VaugbanWilliams.

The Choir of St. Luke’s Prot-estant Episcopal Church yester-day performed a program of con-temporary music, and did a first-class job In every respect. Fewerthan thirty voices took part, yetan astonishing amount of sonor-ous tone resulted. And all of Itwas controlled and inteUigentlyused. The choir is well balanced,exhibits a complete dynamicrange, and sings with enthusiasm.Willis A. Hines, the choirmaster,is to be commended for the ex-cellent performance he achievedwith his relatively slight foroes.

The music performed,, mostlyof the short anthenVtype, ranged

, from thoroughly contemporaryworks to works by composers whohappen to be living today. Out-standing was a “Hymn of Joy,"by Goldsworthy; here was aharmonized quasi-chant withinterspsrsed Alleluias. The piecemade a brilliant effect. The“Benedicito,” by David Williams,set problems for the choir in itsuse of free prose rhythms; butagain the result was workman-like and enjoyable. H. V.

Ravel, MendelssohnPresented by Trio

Mannes-Gimpel-Sllva Trio. LeopoldMannes, olano; Bronislav Glmpel vio-lin: Luigi Silva, cello. National Gal-lery of Art. Program: Trio In B flat,Opus 97. Beethoven; Trio in A minor.Ravel; Trio In D minor. Opua 40.Mendelssohn.

No matter what medium heturned to, and there were many,Ravel’s sense of musical colorwas infallible. None of his fewchamber works shows this morerewardingly than the Trio in Aminor, played last night at the

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National Gallery by the Mannes-Gimpel-Silva Trio.

From its first phrases the en-semble last, night showed fullawareness of the work’s poten-tialities, for it seemed to sparktheir playing. They gave it aperformance of beautiful detailand stunning exuberance.

The Mendelssohn Trio, Opus40, stimulated their playing, too,and the Scherzo in particularwas a delight Os perfect ensembleand dash.

The trio opened'the programwith a masterwork of the litera-ture. but the playing seemedjaded and routine. The Arch-duke Trio is a solid and durablework, but its familiarity andpopularity make it a poor pieceto undertake with anything butthe most edreful preparation.The work of the Mannes-Gimpel

Silva Trio in the more success-ful parts of its program seemedevidence that the Archduke hadeither been slighted or taken forgranted. F. C. C.

Combined Church ChoirsOffer HandeTs Messiah

Combined choirs of the HamlineMethodist Church and the BethanyBaptist Church. Edwin A. Miller, con-ductor. Soloists: Marie Skinner,soprano; Mary Lou Weaver, contralto;Arthur Peterson, tenor: Howard Pat-ton. bass. At the Hamline MethodistChurch. Program: Messiah. Handel.Turning from the two gran-

diloquent performances of the“Messiah" given by the NationalSymphony Saturday and yester-day, we find the resilient andadaptable work presented by themore humble and limited re-sources of the Hamline andBethany Baptist Churches. Thisis the stripped model, the utilitystyle “Messiah,"" and in its wayit is a unique tribute to the work’scomposer.

These two churches are typical

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of tens of thousand all over theUnited States at this season ofthe year. Their musical talentis not great, but it & Christmasand the desire to sing is strong.

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isfied only by the "Messiah,"nothing else will do. Organ, choirand solo voices work together,

and the result is a genuine musi-cal experience, not only for theparticipants, but also for thecrowded pews.

The greatness of Handel’s“Messiah" is shown by the factthat It is as genuine and moving’ln humble hands as in the careof the greatest musical virtuosi,just as the Bible seems equallyat home with the simplest evan-gelist and the most profoundtheologian. D. T.

Doc. 15 Is 'Proclaimed'As No Accidents Day'

•r tin Associated Press

American motorists have beenchallenged to eliminate all traf-fic accidents everywhere in the

country on Wednesday, Decem-ber 19.

The challenge came last nightfrom President Eisenhower’s ac-tion committee for traffic safety,

which set the date to coincidewith “Safe DrivingDay,” alreadyproclaimed by Governors, may-ors and county officials.V On the comparable Wednesday

last year, 60 persons were killedand 1,807 injured in 4,907 traf-fic accidents. Highway fatali-ties have averaged 104 a dayduring the last two years.

Rear Admiral H. B. Miller, re-tired, director of the committee,said the American Association ofMotor Vehicle Administratorscompfied the figures.

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Vice President's FatherUndergoes Operation

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Mr. Nixon’s wife and two othersons, Edward and Don, waited atCottage Hospital as Che opera-tion was performed yesterday.

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