THE MICHIGAN DAILY

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YOUNG CANADIAN SINGER:
'Gloria, ''Elijah' Features Marshall

Soprano Lois Marshall will ap-
pear in two May Festival concerts,
singing Vivaldi-Casella's "Gloria
for Soloists, Chorus and Orches-
tra" at 8:30 p.m. April 30 and
Mendelssohn's dramatic oratorio
"Elijah" at 2:30 p.m. May 2.
Born in Toronto, Miss Marshall
was stricken with polio at the age
of two and was eight before she
was able to go to school.
* w
WHEN HER health improved,
she had private voice lessons and
enrolled at the Royal Conservatory
of Music in Toronto under Weldon
Kilburn when she was 12 years
old. He has guided her career ever
since, serving also as her accom-
panist.
As the outstanding Conserva-
tory graduate of 1950, she won
the Eaton Award which pro-
vided for her Toronto debut.
She also won the Singing Stars
of Tomorrow Award, which en-
titled her to an appearance with
the Toronto Symphony.
Chosen by Toronto Symphony
conductor Sir Ernest MacMillan
as soprano soloist for the annual'
performance of Bach's "St. Mat-
thew Passion," for the past seven
years, she has also been picked by
him to sing in his performance of
Handel's "Messiah."
IN 1950, she was sent as Cana-
dian representative to the Sesqui-
centennial in Washington, D.C.
where she sang with the National'
Symphony.
Two years later Miss Marshall
won the Naumberg Award and
came to New York to give a re-
cital in Town Hall.
Immediately, she was signed by
Columbia Artists Management for
concert tours. She made her Unit-
ed States radio debut on Christ-
mas Eve, singing "Silent Night"
In the spot previously occupied by
such stars as Ernestine Schu-
mann-Heink and Helen Traubel.
Soon after this, she was en-9
gaged by Arturo Toscanini to
sing in his final presentation ofI
the NBC Symphony season, the
Beethoven "Missa Solemnis," at
Carnegie Hall.
Her operatic experience so far
has been in broadcasts over the£
Canadian Broadcasting System.-
She has sung the roles of Leonora
In Beethoven's "Fidelio," Donna
Anna in Mozart's "Don Giovanni"t
and The Queen of the Night inr
Mozart's "The Magic Flute." 


WORKS DISCUSSED:
Record Review
By FLORENCE HUBER
Leonard Rose
BEETHOVEN, SERENADE IN D MAJOR, OPUS 8
Unfortunately not as well-known as the larger Beethoven works,
the Serenade has a charm and beauty eilosed in a rigid format which
makes the work outstanding.
Leonard Rose understands the role of the cello and executes
it perfectly, making no attempt to overpower violinist Joseph
Fuchs and violist Lillian Fuchs, the other soloists. The Menuetto
is delightful, and in the following Adagio-Scherzo movement the
trio masterfully grasps the quick changes of mood which sustain
interest in the movement.
Lovers of chamber music ought to enjoy this recording, particu-
lary the sensitive work of Mr. Rose.
Lily Pons
LILY PONS IN SEVEN COLORATURA ARIAS
This LP includes "Caro Nome" from Verdi's "Rigoletto" which
Miss Pons will sing at the May Festival's first concert on April 29.
Her version is distinguished by sensitive phrasing and always effort-
less singing, even in the most difficult skips and the taxing final
cadenza.
Outstanding on the flip side of the record is "Je Suis Titania"
from Thomas' "Mignon." One might wish Miss Pons were singing
this aria during the May Festival, for her interpretation here is

LOIS MARSHALL, PERFORMER IN TWO
MAY FESTIVAL CONCERTS

ha (id E S lmagnificent.
Chavez' Corrido de El Sol' There is no lack of power, nor is
this a bombastic approach; rath-
To Be Played For First Time er one hears fine spirited singing
throughout.-
Carlos Chavez, whose "Corridori William Warffield
de El Sol" will be given its world retary of Education to write the DEEP RIVER
premiere during the second May ballet The New Fire" in 1921- The baritone voice of Mr. War-
Festival concert at 8:30 p.m. April He originated the Mexican Sym- field is very moving in the Negro
30, has been the most influential phony Orchestra in 1928 and has spirituals included in this album.
figure in Mexican music for de- since conducted the group, as well His controlled tones in the title
cades. as being director of the National number, "Deep River," lead one to
Born in 1899, the composer was, Conservatory of Music and Chief expect fine singing, and the listen-
commissioned by the Mexican Sec- of the Department of Fine Arts in er will not be disappointed.
 Mexico. . * *In "Water Boy" a fascinating
contrast is achieved by using

Chorus To Sing
eleven Songs'
An atmosphere of freshness and
youthful spirit will be added dur-
ing the 2:30 p.m. May 1 Festival
concert by the Festival Youth
Chorus.
Containing more than 500 stu-
dents from the Ann Arbor fifth
and sixth grades, the group is un-
der the direction of Prof. Mar-
guerite Hood of the music school.
Supervisor of music in lo c a
schools, Prof. Hood is prominent
in the nation's music organiza-
tions, being past president of the
Music Educators' Conference. She
has conducted the chorus for the
last 12 years.
The group's performance for
this year will be "Eleven Songs"
by Brahms.
Students in the grade schools
began rehearsing after Christmas
vacation. The 500 best studentsj
will be chosen to sing in the con-
cert shortly before the Festival
and will continue practicing in
massed rehearsals.

CHAVEZ' contribution to Mex-
ican cultural lile was made by
traveling into secluded corners of
the country where he unearthed
extraordinary examples of native
folk music.
His own music is not merely
imitation of the primitive, how-
ever. Rather through excessive
cultivation of primitive music,
he has arrived at a point of sim-
plicity at which all unnecessary
elements can be scrapped.
One amusing characteristic of
Chavez' work is his love of prac-
tically incomprehensible titles.
Examples include "H. P.,"
(Horsepower), a constructivist
ballet; "Sinfonia Proletaria," a
workers' symphony for chorus
and small orchestra; "36" andj
"Unidad," for piano and "Xoch-
ipili - Macuilxochitl," honoring
the Aztec god of music.
Musically, Chavez is a neo-
classicist. In a primarily diatonic
line he may suddenly inject a few
atonal notes or some piercing dis-
cords where those will be most
biting. Chavez is also noted for
his uncanny way of making sheer
contrasts seem inevitable in the
flow of his music.

dulcet a cappela passages to lead
into exciting and powerful lyr-
ics. Demonstrating his versatil-
ity and understanding, Mr. War-
field' sings "Without a Song"
and "Jeanie with the Light
Brown Hair" with a refreshing
absence of sentimentality.
"Mah Lindy Lou" is a charming'
number made up of syncopated
rhythm and amusing lyrics. Mr.
Warfield sings it with a deceptive
casualness which makes it doubly
effective.
Lorne Munroe and
Jacob Krachmalnick
FIRST CHAIR, THE PHILA-
DELPHIA ORCHESTRA
Lorne Munroe joined the Phil-
adelphia Orchestra in 1951 at the
age of 26 and was rapidly promot-
ed to the highest spot in the cel-
lo section.
Jacob Krachmalnick plays'
Beethoven's "Romance No. 2 in
F major for Violin and Orchestra"
with outstanding musicianship
and a superb lyric tone. Concert-
master of the Philadelphia Or-
chestra, he proves himself emi-
nently capable in this recording.

Kraehmalnick
'To Perform,
Brahms Work
A "violinist's dream" came true
when Jacob Krachmalnick was ap-
pointed concertmaster of the Phil-
adelphia Orchestra.
Krachmalnick had been assist-
ant concertmaster of the Cleveland
Symphony Orchestra under George
Szell. When Eugene Ormandy was
searching for someone to replace
Alexander Hilsberg, Philadelphia
Orchestra concertmaster for 20
years, Krachmalnick was selected
from the many violinists who audi-
tioned for the post.
AS CONCERTMASTER, he not
only is responsible for technical
matters such as bowing and phras-
ing in the violin section, but plays
incidental violin solos, often ap-
pearing as featured soloist, as he
will during the third May Festival
concert at 2:30 p.m., May 1.
During that concert he will
play Brahms' "Concerto in A
minor, Op. 102, for Violin, Cello
and Orchestra" with Lorne
Munroe and the Philadelphia
Orchestra.
Born in Russia, he moved at an
early age with his parents to St.
Louis, where he received his basic
academic and musical training. He
was accepted as a scholarship pu-
pil at the Curtis Institute of Mu-
sic in Philadelphia, where he stud-!
ied violin with Alexander Hilsberg.

Sink Gives
Objectives
Of Society
75th Anniversary
.
Of Organization
In the three-quarters of a cen-
tury of its existence, the Univer-
sity Musical Society has grown in
the size and scope of its activities,
but its purpose for existing re-
mains the same as at the time of
its founding in the season of 1879-
80.
That purpose, which according
to president Charles A. Sink is to
bring the best available music to
the campus and community at the
smallest possible expense, has
been the sole basis for the society's
activities in its 75 year history.
* * *
A COMPLETELY non-profit
organization, gains made during
the concert season are added to a
fund which enables the organiza-
tion to continue sponsorship of
concerts during the lean years.
This happened during the depres-
sion, when all the usual musical
activities were performed on cam-
pus despite the reduced numbers
in the audience.
The Society was originally
founded by faculty members and
townspeople who felt that stu-
dents and Ann Arbor residents
didn't have enough opportunity
to hear good music and who de-
cided that some measure must
be taken to bring it to them.
During its first season the so-
ciety agreed to sponsor the Chor-
al Union, at that time merely a
combined choir from four of the
local churches.
For the first 15 years of its ex-
istence, the Society sponsored only
a few concerts scattered through-
out the season. At some of these
concerts, given with Choral Un-
ion, well-known soloists were fea-
tured. Thus the now-traditional
Choral Union concert series was
named, even though the group no
longer appears in this series. ,
* * s
IN ADDITION to the Choral
Union Concert Series of ten pro-
grams, featuring as soloists some
of the most widely-known per-
sonalities in the music world, the
society also sponsors the five-pro-
gram Extra Concert Series.
Choral Union's traditional
Christmas presentation of the
Messiah has been sponsored by
the society almost since the in-
ception of the two groups.
Another musical event started
14 years ago is the annual Cham-
ber Music Festival, which each
year features some of the world's
outstanding string quartets.

SOMETHING FOR ALL:
Wide Variety of Music
Scheduled for Festival

"I 4

I Take your pick of musical per-1
iods and check your favorite com-
poser in each. Then check thel
May Festival program for this
year. Odds are the composer'sI
work is included, for no less than'
23 different composers are listed.
Like "Omnibus," there's something
offered for everyone.
The opening concert at 8:30
p.m. April 29 will include the po-
pular "Pines of Rome" by Respi-
ghi. Ottorino Respighi has been
classified as everything from aa
wholehearted impressionist to a
neo-romanticist, but categories
are usually arbitrary, and seem
very much so in the case of Res-1
pighi.1
* * *
HIS BEAUTIFUL, symphonic
poems unmistakably bear the im-
print of Debussy's influence while
his melodies are just as unmistak-
ably Italian. His brilliant, at times
even 'vulgar orchestral technique'
is- based largely on that of his
teacher, Rimsky-Korsakoff. Using
the recorded voice of a nightin-
gale in his series of tone poems
on Rome was one of his most
Dose To Play
In Festival
Leonard Rose, 34 year old cell-
ist, will play Dvorak's "Concerto
in B minor, Op. 104, for Cello andt
Orchestra" during the 8:30 p.m.
April 30 May Festival concert.
The young cellist began his solo
career in 1951 at the Edinburgh
Festival- playing with the New
York Philharmonic Symphony un-
der conductor Dimitri Mitropoulos.
* * *
ROSE'S TALENT was recogniz-
ed when he was 13 years old, win-
ning a state-wide high school cell-
ist competition in Florida. Soon
afterwards, he made his first pub-
lic appearances in a series of re-z
citals throughout that state.
Beginning his professional ca-s
reer in 1938 as a member of theI
NBC Symphony under ArturoC
Toscanini, within three weeksZ
Rose was assistant first cellist
and a few years later was hold-
ing the position of solo cellistc
with the Cleveland Orchestra.r
In 1944 he became soloist of theo
New York Philharmonic.-
During his first tour as an inde-
pendent soloist, Rose appeared
with nine symphony orchestrasr
across the country.n
Currently a member of the Jul-
liard School of Music faculty, Roser
was appointed three years, ago toa
the cello department of 'Curtist
Institute.

startling, but effective, innova-
tions.
j Controversial Paul Hindemith
is represented by "Concert Mu-
sic for Strings and Brass Instru-
ments" which will be played at
8:30 p.m. Saturday, May 1.
Hindemith mocks at rules and
is attracted by the most contrast-
ing subjects. Experimenting with
many styles, the versatile com-
poser has written such interesting
'novelties" as "There and Back,"
in whose second part the music is
simply reversed, the operatic per-
siflage "News of the Day," the
puppet ballet "The Nush-Nushy,"
the oratorio "The Unceasing" and
"The Life of Mary," written to
Rilke's verses.
In one of his greatest works,
the inspired "Mathis der Maler,"
Hindemith found his way back
to the mighty polyphony of the
Middle Ages.
He believes that music should
serve its own day and not bother
with the next generation, and as
a consequence his compositions
seem very "busy," with little rest
or repose. Though the music is
not atonal in the strict sense, he
often disguises conventionality
with a highly dissonant super-
structure.
HIGHLIGHTING four days of
great music will be the perform-
ance at 2:30 pm. May 2 of Men-
delssohn's religious oratorio, "Eli-
jah."
Usually noted for gaiety and
even superficiality, in his ora-
torios Mendelssohn achieved real
depth of expression. But even in
"Elijah" one finds the qualities
of refinement, careful phrasing,
and gentlemanly control which
marks much nineteenth-century
music.
Definitely a romanticist, Men-
delssohn' was always technically
marvellous, with instrumental and
vocal balance invariably perfect.
Thus, despite the difference in
subject matter and treatment, it is
possible to recognize the 17-year-
old composer of "A Midsummer
Night's Dream" in the moving
"Elijah."
Guillaume Landr6 was a Dutch
composer noted for music of light-
ness and joy. In his large-scale
orchestral works, such as the
"Symphony No. 3" which will be
performed, at 8:30 p.m. May 2, he
is less powerful and less potent in
projecting his meaning, but his
music is always charming.
In his chamber music Landre is
more tranquil and unobtrusive,
and this music may prove more
lasting in the end.
-F.H.

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FOU

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CON DUC

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and

Ph ladelphia

Orchestra

Eugene Ormandy
Musical Director and Conductor of
Philadelphia Orchestra

Lester Me
Conductor
University Chor

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Chorus
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Thor Johnson
Guest Conductor of
Philadelphia Orchestra

Marguerite
Conductor
Festival Youth

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plus

UNIVERSITY

CHORAL

UNION

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