Evening star

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Senor Caroselli gave it the correct

Uruguayan interpretation, said to be

quite different'from that used by con

ductors at the previous performances in

the United States.

The “premier rendition anywhere"

was an honor bestowed upon two work'.

Os these the most striking was an

aboriginal suite. “Kiskaya." by Justin

Elie of Haiti. It is a brilliant work and

■was given sympathetic reading under

the leadership of Lieut, Ben ter of the

Navy Band. No jazz band has present

ed anything with half the jazz posi

bilities of this work; the authenticity

of the aboriginal motives is marked,

and the whole work holds the attention

throughout. Edythe Marmion Brosius.

Washington harpist, played in the third

movement.

The other “premier rendition" was

given a “Tropical Suite" by M. de Ada lid

y Gamero of Honduras, with the musi

cianly Capt. W. J. Stannard of the

Army Band, conducting. Each of the

four movements of this work evinced

a different, typically, Spanish rhythm.

The tango introduced the bull fight

theme: the habanera, the masquerad

ers: variations of a waltz, the serenade,

and Jota was the rhythm for dance

in the plaza. It brought to mind the

fact that in Europe even the great J.

8 Bach and W A. Mozart used the

dance rhythms each of his day. bourree.

sarabande. and minuet, in writing some

of their most charming music.

Guest Soloists Fleasing.

The guest soloists won marked ova

tions Senhora Kita de Ulhoa Canto,

another young and brilliant pianist

from Brazil, won special acclaim for

her playing of “Variations on the

Brazilian Hymn" arranged by Gott

How to cite this articleCómo citar este artículo

Evening star. (1928). Washington, D.C., 1928-04-11. Haiti in the American Press. Library of Congress, Chronicling America: https://www.loc.gov/resource/sn83045462/1928-04-11/ed-1/?sp=6

ReferencesReferencias

Library of Congress, Chronicling America: Evening star, 1928-04-11.