Indianapolis Times, Indianapolis, Marion County, 15 November 1940 — Page 29

"PAGE 29 48-In.

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THE INDIANAPOLIS TIMES

RECORDINGS

Composer Bartok Helps Benny Goodman And Szigeti Record, 'Three Contrasts’

31 FRIDA . NOV. 15, 1940 L- Symphony's List Altered

Faust’ to Be First on 5Concert Series. With the ppening of the Indian-

ed many composers to come stumbling after. Sometimes the poetry has been enhanced, but more often it has been merely obscured, which is the case here. Recorded are songs from 10 of the plays, settings of speeches from two others, and of lines from one of the poems. Composers range from Shakespeare's contemporaries (really the most satisfactory music) through the 18th and early 19th Centuries (including Haydn and Schubert) and

Rachmaninoff Warms Up 0:

x 0) - . ’ ETRE 3-424 R 1338 33-4 $21 x3 [IRS i

By JAMES THRASHER . Bartok, Three Contrasts; Bela Bartok, piano; Joseph Szigeti, violin;

apolis Symphony Orchestra’s 1940-41 Season this afternoon, the management announced a change in the special series to be given later in the season. | There will be five instead of four concerts in the special series. The first, on Monday, Dec. 30, will be given over a concert version of Gounod’s “Faust.” The performance will be given in English with these soloists: Zina Lisichkina, soprano; Hertha Glatz, contralto; Ernest McChesney, tenor; Thomas L. Thomas, baritone; Gean Greenwell, bass. The Indi apolis Symphonic Choir will appear with the orchestra under Fabien Sevitzky's direction. The other| four concerts will be given on iday evenings. David + Blair, McCloskey, baritone, will be soloist at the all-Wagner concert, Jan. 10. A. program of American music will have Joseph Bloch, Indianapolis pianist,-and Agnes Davis, s0prano, as | soloists on Jan. 24. Adolf Busch, violinist, will appear on the Brahms program of Feb. 21, and the all-Tchaikowsky concert, March 7, will have Artur Rubinstein, Pianist. Dates and, soloists for. the four ' Sunday “pop! concerts are: Dec. 8, Charles Petremont, 13-year-old violinist; "Jan. | 12, * Alfred Mirovitch, painist; Feh. 9, James Hosmer, Hutist, and harles O'Connell, guest conductor; larch 23, Leon Zawisza, violinist. | Two children’s conTerts ‘will be given at the Murat; four in City high schools, land a special children’s concert at the Butler Fieldhouse, Dec. 186. |

INDIANAPOLIS SYMPHONY | ORCHESTRA FABIEN SEVITZKY, Conductor

MURAT THEATER

CONCERTS

TODAY AT 2:30 SATURDAY AT 8:30

Beethoven, Ravel Carpenter, Berlioz

GOOD SEATS $1, $1.50, $2, $2.50, $3

Box Office-Rl . 9596

Yes, that’s a muff which you see in the lap of Sergei Rachmaninoff —but it isn’t just an example of artistic eccentricity. The distinguished Russian pianist (who opens the Martens Concerts series at English’s on Sunday afternoon) suffered from the prevalent and bothersome oc-

cupational disease of concert pianists—cold hands.

So he had a wool

muff made with inner electric wiring. He carries it with him on tour, plugs the attached wire into a green-room light socket, and toasts his

hands until concert time.

HOLLYWOOD

Enforced Layoffs Irk Actors Who Expect Winter Production Boom

By PAUL HARRISON Times Special Writer

HOLLYWOOD, Nov. 15.—BEHIND THE SCREEN: Movie production 1s at its lowest point in many years, with only about 25 companies actually working. This doesn’t herald an entertainment depression, though. Most of the studios have pushed along

in advance of their schedules and now are getting ready for a winter

boom. Nevertheless there's grumbling all along the line, from top stars on enforced layoffs to extras whose total earnings this month will be about $100,000 under par. Martin Greene says things are getting so tough that pretty soon nobody will be paid twice what

BOB HOPE has been headlining “Charlot’s Revue,” the warrelief show at the local El Capitan Theater. ‘When he mentions the name of the theater in his monolog, Mr. Hope says, “El Capitan— that’s Spanish for Elliott Roosevelt.” ” ” 2

Benny Goodman, clarinet (Columbia). Bela Bartok, who conceived a sight-unseen admiration for Benny Goodman not so long since, wrote this work two years ago especially for the famous swing clarinetist and the distinguished Mr. Szigeti. The music was composed in Budapest; but the war has now brought

Mr. Bartok to this country, and, incidentally, to a participation in this recording. The three “contrasts” are labeled Recruiting Dance, Relaxation and Fast Dance. The first is described as “the Hungarian counterpart of the American blues,” and the second as a “short and slow chorale.” The third speaks for itself. One feature of this fast dance is the employment of two violins, one of them with the G string tuned a half-step higher, and the E string, a halfstep lower than usual. This is exacting, economical and enjoyable music. if one doesn’t mind the “modernism” of polytonality. The work is an excellent example of discerning writing. There is no waste motion, yet the assets and possibility of the violin and clarinet are fully exploited. The piano’s role -is somewhat subsidiary. Mr. Szigeti’s talent is too well known to need dwelling on here. But it should be said that Mr, Goodman adds a luscious tone, good taste and a remarkable understanding to his vaunted technique in an admirable performance. All told, this is an album well worth hearing. Stravinsky, Suite from ‘“Petruchka”; Igor Stravinsky and the New York Philharmonic-Sym-phony Orchestra (Columbia). Last month Mr. Stravinsky and this orchestra gave us an important recorded performance of his “Rite of Spring.” This month he's back with the earlier “Petruchka,” leading to the devout hope of a series of albums pressed under his guidance. I've seldom heard a more incisive performance of this famil-

lyrics. by

jar and well-liked cutting from the “Petruchka” ballet music. Although the recording isn’t impeccable, you should hear some new tone colors and emphasis and effects which other conductors had missed before the composer took over. It's pulse-stirring music and grand fun. “The Voice of Poetry,” Vol II; John Gielgud (Columbia). As surely as we need great music in our homes, we need to have ready recourse to the neglected (I sometimes suspect forgotten) beauty o four language and the great thoughts which its poetry expresses. That is why this second volume of Mr. Gielgud’s anthology of recorded verse is especially recommended. I'm sure that most of us read too little poetry, ,out this album isn’t recommended as a shortcut Rather it adds the poems’ aural beauty to the intellectual and emotional satisfaction which the printed page affords. The recorded volume contains Shakespeare, Jonson, Waller, Shelly, Donne, Byron, Kingsley, Christina Rossetti, Bridges, Tennyson, Morris, Sassoon, de la Mare, Masefield, Davies and T. S. Eliot (six 10-inch records). And you may be assured that Mr. Gielgud enriched each poem with illuminating understanding and consummate deliv-

ery. Shngs from Shakespeare’s Plays; Marie Houston, soprano; Frank La Forge, harpsichord and piano; Justus Gelfius, flute (Victor). Speaking of poetry, Shakespeare’s lyrical flights have tempt-

down to the tontemporary Carl Busch and Frank La Forge. Miss Houston's singing is invariably pleasant, but without variety of expression. (For instance there isn’t even a hint of Ophelia’s madness in the famous “Hamlet” songs.) And in listening you had best have the text in front of you.

The first members of the stage company of “The Man Who Came to Dinner” has been signed for the film version of the Kaufman-Hart hit comedy. She is Mary Wicks, who plays the nurse in the play and

will have the same role on the

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BARBARA HUTTON is trying to keep out of print and away

from the spotlight while living here, and she refused to serve as hostess for a British War Relief party. Instead, the Woolworth heiress scribbled a check for the full amount of such a party's estimated profits.

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LUPE VELEZ and Big Boy Williams, who are going to be married, attended a preview the other night and stood on the | wrong side of the ropes, wore their oldest clothes, joined the gawkers and autograph hounds, and Jheckled the stars in raucous voices. Nobody recognized the couple, and I hope nobody understood some of the remarks Lupe screamed in Spanish. ” ” ”

The Civil War epic has reached Central Avenue, Los Angeles’ sepia belt, and the billing on the theater there is “HATTIE McDANIEL and EDDIE ANDERSON in Gone With the Wind.” . , . The chain-letter craze has hit Hollywood again, and you'd be amazed at the scores of prominent people who are sending out dollar bills and laboriously making 10 copies of the silly screeds. . . . Final settlement of the estate of the late Douglas Fairbanks shows it amounted to $2,318,651.

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