t33 Peb . 26 , 1946 f:J~ ad ~ ol ~ Brooklyn Academy of Musiu Published by Concert Program ~agazines. Editorial office: 30 Lafayette .Avenue, Brooklyn 17, 'N. Y. STerling 3-6700. Advertising office: 258 'Fiftb Avenue, 'New York. 1, 'N. Y., CAledonia 5-6690. THE B ROOKLYN INSTITUTE OF ARTS AND SCIENCES FABULOUS ANGNA ENTERS 44F AB ULous" IS TIIE WORD poignant films of the year. one critic used to de­ PROGRAM She has also sold her book, scribe Angna Enters. And Silly yirl, to the movies, and IN TillS ISSUE "fabulous" is the apt word to more recently has completed describe one who has become • a stint at the lvLG.l\1. studios a veritable one-woman Trust in I Iollywood. of culture. This slight and Brooklyn Chamber Then there is still another puckish young woman with Music Society Angna Enters - the artist. the dark and intense eyes, Originally, she expressed her­ and the thick black bangs of • self by dec;igning costumes for hair offering a vivid contrast her dances. Subsequently, she to the ivory pallor of her sen­ BEGINNING ON PAGE 5 turned to the canvas. I Ier sitive face, has gone as far in drawings and paintings, about her profession as it is possible 1,200 items, have been e'\.­ for anyone to go. Actress, mime (she likes to hibited by more than thirty -five leading galleries pronounce the word "meem"), satirist, and in the country, have been bought b) \\ell known dancer, she has created a theater of her own art collectors and by several important mu­ which she calls " Episodes, or Compositions in seums, including the l\1etropolitan 1\!luseum of Dance Form,') but which it is difficult to cate­ .Art. She is also the illustrator for this ) ear's gorize because it is unique. With distinct orgin­ collection of 13esl S!Jort Stories, edited by Mar­ ality, she uses the dance to portray not only the tha f-oley, her second venture in the field, lhe \, grace of movement, but the more subtle emo­ first being her own )il/y y1rl the illustrations of I tions of tragedy, comedy, and rapier-edged sat­ which were lavishly praised. ire. She has created more than 175 dance com­ Upon her many achie,·ements in so many positions, said to be the largest repertory in the different artistic fields, tviiss Enters looks with field; and with it she hac; won a place all her modesty. "\Xfhen the sun rose in my g~rden,'' own among the dancers of our time. she told an interviewer, cc y often said to myself 1\1any another dancer would have felt, and no poet could dream anything to take the place with justification, that this was achie\ ement of this world. No ecstasy of the imagination in enough for one lifetime. But not Angna Enters! the language of words or music or movement Turning to writing, she has created one play (a or line is enough to take the pbce of this ph) s­ bitter anti-fascist document), two books (one of ical world for me. To live in a dream world one them a best-seller), and several short stories, all must first be alive. To paint an apple-e\ en an of which have received the ringing praises of the abstract one-first there must be an apple, ;mel leading book critics. One of her short stories, T would not give up the apple for the most e\·o­ Lost ..A11gel, with Margaret O'Brien in the prin­ c;1tive painting of an apple in e:-;.istence. The cipal role, was acclaimed one of the moc;t arts are of life and cannot be separated from it." 3 ABRAHAM tl' FULTON ST. at HOYT • CJI 3-t g~ ~~ ;;c ASS offers you !<Ut a complete selection of the world's finest I recordings -. As part of our expansion program, the A&S Record Shop has moved to brighter, more spacious quar­ ters on the Fifth Floor, East building. Come in and browse around. You'll find a vast assortment of records ranging all the way from uJack and Jill" for the little tots, to recordings by world-famous solo­ ists, symphonic recordings, or if you prefer, record­ ings of your favorite hit numbers from which to choose. You can listen to the records on one of our record players. \ r VISIT THE NEW A&S RECORD DEPARTMENT-FIFTH FLOOR, EAST. 4 More and More People are saying, "Make Mine Modern" ... when they see Loeser's rich collection of contem­ porary furniture. It's light-hearted, comfortable and has a special talent for adapting to many different arrangements. It's furniture for the present indica­ tive of the future. Loeser's Furniture-Fourth Floor TUESDAY EVENING, FEBRUARY 26, 1946 THIRD CO~CLHT OF TUE SE \SO'l' BROOI(LYN CHAMBER MUSIC SOCIETY Under the direction of Carl H. Tollefsen • PROGRAM BEGINS ON PAGE 5 • 5 ., ANATOME CREAM The result of years of patient experiments, this amazing new cream was designed for the woman whose skin is beginning to yield to the pressure of time. Compounded with vital, activating hormones, laboratory-tested Anatome Cream reawakens the skin, encouraging the glow of youth. 6 iKtugs atnwty Wnt!lt atnuqmuy 342 TO 346 FULTON STREET BOROUGH OF BROOKLYN, CITY OF NEW YORK "Fiftr-su Years in Brooklrn"-"Fiftr-su Years of Growth" CAPITAL s 500,000.00 SURPLUS $7,000.000.00 llDl"BU FWUAL DJ!:POSIT INSURANC1t COJt.PO~TIOK ., PARTICIPATING ARTISTS CARL H. ToLLEF E", violin RoBERT RoHVIA '1:\1, clarinet IRVI G KLIGFIELD, violin BERT BIAL, bassoon Aux YOUNG MARUCHESS, viola Gu:"'TIIER ScHULLER, French horn Y OURY BILSTI , violoncello HELEN CI-IIFF, narrator RALPH SATZ, double-bass ETTA K. ScHIFF, pianist A'ID THE UNITED TEMPLE CHORUS Under the direction of Isadore Freed Frieda Luther at the piano Guest oloist: Arthur Wolf on, baritone PROGRAM CONTINUES ON PAGE 9 7 KEEP A HEAD WITH rew ., The Beer that gives -you por~_l I t • Ll N DSAY LABORATORIES AND PHARMACY ''A Vital Service to the Community" 302 ASHLAND PUCE BROOKLYN, N. Y. , I Nightingale Chorus from "Solomon" __ ------------------------- Handel Psalm No. 23 --------------- __ _ _ ----- ____ _________ Schubert Alleluia ------------------------------ _________________________ Mozart United Temple Choru PROGRAM CONTINUES ON PAGE 12 9 PROGRAM NOTES By DAVID EWEN - ---..JI The Pied Piper of Hamelin Arthur Bergh ( 1882 -) Arthur Bergh is a California composer who, for many years, was a violinist with the New York Sym­ phony Society and the Metropolitan Opera House orchestras. Subsequently, he was director of several recording companies. He has written numerous works, in many different forms, the romantic vein of which suggests the late nineteenth century rather than our own times. He is best in his works for chorus, in his songs, and in extended pieces for narrator and ~wk~ ~~ orchestra, of which The Pied Piper of :Hamelitt is a notable example. In all of these he is uniquely suc­ cessful in transferring the subtlest nuances of feeling s u and the most elusive suggestions of atmosphere of the ~ rt~ T~~ .. tl;f tvt~ ~ text into tones. Rhapsody for Viola and Piano Isadore Freed ( 1900 -) The Rhapsody had its first performance at the hands of Samuel Lifschey, solo viola of the Philadelphia Orchestra, on a League of Composers broadcast in February, 1940. At that time Mr. Freed supplied no program other than to explain that the viola is much like the physical human being: it is too small for the depths of its pitch, and for this reason its tone has a kind of pent-up quality that accounts for its unusual timbre, dark and nostalgic. The Rhapsody is built on three distinct themes: the first, fast and fervent, sets the impassioned pace of the entire work. There follows a slower, rather mysterious, idea which is heard "sui ponticello '' (played on the bridge, giving off a curious reedy whistling sound). The third subject is slow and song­ ful, and comprises the central portion of the Rhapsody. The coda of the work is based upon these three themes. * * * Mr. Freed's musical style in general mirrors his esthetic attitude towards the important achievements of the twentieth century. He feels that he reached musical maturity at a period when great technical inno­ vations had caused an almost chaotic confusion in the musical horizons of our time. New creative ideas had come and gone with such speed that the tonal art was ready for some stabilizing influences and some attempts at digesting and assimilating these new prac­ tices. And so, Mr. Freed's esthetic outlook is one that tends towards organizing and stabilizing some of these new trends, rather than towards discovering further innovations. INTFRJ\1TSSION CO.i\1Ml:N TARY: FRANZ'L From the writings of his very good friend, Anselm If vou can't find vour ~tvlc at fir~t. trv a~oin! Dealers Huttenbrenner, we have acquired an informative and ~1'1 · suppli<'S monthly s., ,~d for Style ~ nd . C ons('rvation f ,,J,f,.r, · 'l t~ id <' n Form Bw ~ ~irrc Co., lnc. , :\cw York 16. revealing word-picture of Franz Schubert. " Schubert was not of very striking appearance. He 10 was very short, somewhat corpulent, with a full round face. His brow had a very agreeable curve. Because of his near-sightedness, he always wore eye­ glasses, which he never removed, not even while sleeping. He never concerned himself with his dress, and he detested going into higher society because it necessitated careful dressing. In general, he found it impossible to discard his soiled frockcoat for a black suit.