THE SUNDAY STAR, Washington, D. C.SUNDAY. AUGUST 18. 19541

NEWS OF MUSIC

State of Church MusicViewed in New BookBy DAY THORPE

The history of the art ofmusic shows that by far theRreater part of it has beenwritten either specifically forthe church or with unmistak-able religious connotations.

For centuries the churchwas a patron of music without

.rival, and even during thetimes when its largesse wascurtailed and its interest

, waned it still exerted an un-paralleled influence on com-posers of every faith.

From the anonymous com-posers of plainchant throughPalestrina, des Pres, Isaac,

* Byrd, Handel, Bach, Beethe-; ven, Tchaikovsky, Berlioz and

Rossini, to the contemporariesBarber and Stra-

ti vlnsky, we have had a cease-less flow of religious music

surpassing all symphonies, op-eras, string quartets and otherprofane pieces in quantity andunsurpassed in quality.

Throughout the" years, inaddition, we have seen created •a tremendous literature of re-ligious popular music—hymns,art songs, and sentimentalballads like “The Rosary’’ and“The Lord's Prayer,” writtenin many cases by men whosenames have been forgotten inthe natural course of events orhave been blotted out with atear by the divine forgiving-ness of the recording angel.

Quality Falls Into DeclineIn modern times the quality

of music written for and per-formed in church has falleninto a decline. While there aremany Individual churches andeven communities in whichservice music is held in highesteem and practiced with the ;greatest art, it seems unlikely jthat we will soon return to thegolden age of church music 1which was the 16th century, oreven the silver age, the twofollowing.

The reasons for the adul- jteration of church music andits comparative lack of pres- jtige are many; the most cru- icial is the ever-increasing jdemocracy of the churches. In jthe days of Palestrina the su- jperior culture of the church 1could be imposed upon the ;people, while today the church jtends to be only one of manyinstitutions seeking the sup- jport of mankind, and finds it-self encouraging recognition by jthe most demotic means.

Paul Hume, music editor ofthe Washington Post andTimes-Herald, in his new book,“Catholic Church Music,” feelskeenly the low estate intowhich Catholic church musichas fallen. The book, dedi-cated to the Pope, and de-clared officially to be “freeof doctrinal or moral error,”is not a history of the musicof the Catholic Church noran apology, but rather apractical handbook for themusic-loving Catholic whowants to improve the music ofhis parish. It is writtenagainst a wide background ofpersonal experience supple-mented by the informationelicited by questionnaires sentto a large number of CatholicChurches throughout theUnited States.

Mr. Hume makes a begin-ning by attempting to showhow far from any ideal of goodmusic are the liturgical por-tions and congregationalhymn-singing in the averageparish church—not only is themusic usually bad. but the per-formance is often far fromwhat should be expected inpraise of the greater glory ofGod. While pointing out thatcastigation of his own doesnot imply that the music inProtestant churches is better(Mr. Hume, like John Gunther,is inside only one place at atime), he does rather ruefullyadmit that in Washington herarely hears a note of greatCatholic music in a Catholicchurch, but must go for per-formances of high standardsto the National PresbyterianChurch, the Washington Ca-thedral. St. John's EpiscopalChurch, and "a Unitarianchurch whose name escapesme."

Problems Taken In TurnThen, after pointing out that

Improvement of church musicIs, for the Catholic, not some-thing which can be marked onthe agenda as optional, butwhich has been unequivocallydemanded by three popes, Mr.Hume takes the parish churchmusician by the hand to showhow each obstacle may beovercome.

The apathy or hostility ofthe clergy, the resistance tochange of the congregation,what music to sing and whereIt can be bought, how to traina choir, how to make the bestof an electronic organ, theproblem of hymns, the voiceof the congregation, music forweddings, music in school-each point is persuasivelyargued.

Two forces are apparent inMr. Hume's approach to theregeneration of Catholic

church music. One is his obvi-ous love of good music and hisdesire to further it; the otheris the sense of urgency andthe backing given him by the jfamous "Motu Proprio” ofPope Pius X, and the relateddocuments of his two succes-sors to the papacy. Two fifthsof the book is devoted to re-printing official Catholic docu-ments concerning music, andextensive quotations from thepopes’ messages appearthroughout Mr. Hume’s text.To understand the wishes ofthe author of the “Motu Pro-prio” and to do what he canto bring them to pass is Mr.Hume’s chief aim.

Position Is Sound OneMr. Hume’s position is a

sound one, for if one were tojudge by the evidence garneredfrom "Catholic Church Music”previous effort has centered ondetermining whether the“Motu Proprio” is in fact sol-

i emn law, binding Roman| Catholics to obedience. The

document’s author was clear: on the point, saying; “We willi with the fullness of Our Apos-

tolic Authority that the forceof law be given, and We do byOur present handwriting im-pose the scrupulous observanceon all.” This was in 1903.Twenty-flve years later PiusXI wrote on the subject; “Lestanyone in the future shouldinvent easy excuses for ex-empting himself from obedi-ence to the law of the Church. . .”; Anally, last Christmas,on what Mr. Hume calls "aneverlastingly happy day,” PiusXII issued an encyclical in <

I which he spoke of the “MotuProprio” as “the legal code ofsacred music.”

Meanwhile, however, the1 validity of the “Motu Proprio”

had already been confirmed.¦ One of the most fascinating! chapters of Mr. Hume’s book

is a document by Juan Na-; varro, a Mexican priest, en-I titled "Is the Motu Proprio of

Blessed Pius Tenth On SacredI Music Binding In Conscience?”I Father Navarro finds that iti is, and that failure to observe

some of the laws of the “Moiui Proprio” is a grievous sin;; while neglect of other pre-| scriptions is not grave in itself.1 Mr. Hume’s book has as its

foundation the “Motu Proprio,”I a document which I hesitate to1 summarize, feeling that the

reader interested in the argu-ment of this article will wantto study the “Motu Proprio”in its entirety.

Pope Pius X said that the“Motu Proprio” will eliminateall vagueness from the inter-pretation of the laws concern-ing church music, but noteveryone will agree that he hasbeen successful in his laud-able attempt. Catholic churchmusic must have the qualitiesof “sanctity," “goodness ofform,” "universality” and mustbe “true art.” Alas, there isnot unanimity of opinion aboutthese matters. The Pope citesGregorian chant and 16th cen-tury classical polyphony, andsays that certain modernmusic is permitted and en-couraged, but no examplesare given as a guide. Musiclater than the 16th centurymust be free of all seculartaint, although many of thepieces of the 16th centuryschool, approved by the “MotuProprio,” were frankly basedon secular tunes. What is thedistinction?

A Knotty ProblemMr. Hume does not discuss

the problem, which is certainlya knotty one. My wife, trainedby the Sacred Heart, suggeststhat secular tunes are all

right if none of the singers ormembers of the congregationrecognizes the source—a plau-sible explanation. Does the“Motu Proprio,” with its banon wind music, except by spe-cial permission, disown thegreat works of Gabrieli andLotti, for example? These com-posers are considered gloriesof Catholic church music, asare Haydn and Mozart, nowgenerally (but perhaps inac-curately) considered to beunacceptable.

Are the works of RomanCatholic composers only ac-ceptable? One can find no hintof the answer, unless the factthat only singers of knownpiety and uprightness are suit-able for choirs is consideredapposite. Exactly what doesPius X want in addition toGregorian and 16th centurypolyphony. That good churchmusic music acceptable tothe “Motu Proprio”—may notbear a trace of secularism, maynot be fashioned even in itsexternal patterns on the move-ment of profane pieces, is be-wildering. to say the least,for there has never been anyreally first rate church music

' that did not show the effect ofits secular artistic environ-ment. Only second-rate com-

i posers write “churchy” mu-sic. Apart from unimportant

I externals such as language and

ft S&tmvPRESIDENTIAL

d'-tjM&r THEME SONGSTeas Your Ability oa 0 Tuna Dotoetivo

Numerous popular songs are identified with Presidents ofthe United States or presidential aspirants. Score 10 pointsfor each song-title correctly completed, and another 10 pointsfor each President or presidential candidate correctly linkedwith hie theme song.

1. “Home on the2. “I like .”3.

••

Waltz "

4. ” of New York."6. “Keeping Cool with —r- nd AnvsrSnn Page E-S

PROGRAMS OF THE WEEK, Etytltn. Luiilnl: Walter's Prise Sons

Warner; The Band Wagon Selection.! Schwarts.

TUESDAYUNITED BTATEB ARMY BAND. Mai.

Hath Curry, conductor. Soloists:Arnold Vokctaitis. bass-baritone: TheTrumpet Sextet. Watergate. 8:30 p.m.Old Glory Triumphant, Duble; RoyalFireworks Music, Handel; Irish Tunefrom County Derry, Grainger; Hun-{anan Rhapsody No. 2. Liszt-Saylor;nglesina. Delle Cese; Latin AmericanMedley, arr. Croy; Lover. Rodgers; Nonpiu andral, Mozart; This nearly wasmine. Rodgers; Song of the Flea.Moussorgsky; Czardas, Grossman.

WEDNESDAY¦! UNITED BTATES MARINE BAND. Capt.

Albert Schoeppere conductor. Soloists:James Erdman, trombone; Fredrlc fcrd-

i man. cornel. East Front, United¦ Slates Capitol. 8 p.m. Heritage. Ben-jamin; The Tsar's Bnde. Rimsky-Kor-skov; Selections from Can Can. Porter;Blue Bells of Scotland. Pryor: WaterMusic Suite. Handel; They didn't be-lieve me. Kern; March for Band.Beecham; Carnival of Venice. Staigers;

> Selections from Silk Stockings, Porter.

THURSDAYUNITED BTATEB NAVY BAND. Comdr.

Char lea Brendler, conductor. Soloists.Lawrence Wlehe. trombone; FrederickSewell, violin. Watergate. 8:30 p.m.La Belle Helene Overture, Offenbach;La Bamba de Veracruz, Tucci; TheParrot on the Fortune Teller’s Hat,Abrou; Swan Lake Ballet. Tchaikovsky;Phenomenal. Innes: The Sorcerer’s Ap-prentice. Dukas; The Bandstand. HydePark. Wood; Concerto No. 1, Tchaikov-sky; The Ride of the Valkyries, Wag-

. ner.) | FRIDAY; UNITED STATES ARMY BAND, CaPt.

t Samuel Loboda, conductor. Soloists:1 1 Harley Rex, saxophone; Charles Wood.

narrator; Ernest Murphy, tenor; Unitedi States Army Chorus. East Plaza.I United States Capitol. 8 p.m. Free-! rom’s Foundation. Loboda; OvertureI to Die Fledermaus. Strauss; Pictures

at an Exhibition, Moussorgsky; Mod--1 erne, Bennett; Radetzky March,

Strauss; Dance of the Hours. Pon-j chielli; I am an American. Dragon;Beyond the Sea. Trenet; Overture toTannhauser, Wagner.

UNITED STATES AIR FORCE SYM-: PHONY ORCHESTRA, Capt. John F.

Yesulallls, conductor. Soloists: StanleyI Petrulis. violin; Donald Boothman,• j baritone. Watergate, 8:30 p.mi Overture t*> the Magic Flute. Mozart:Bassoon Concerto. Mozart: Symphony

in G minor. No. 40. Mozart: Dances olGalanta, Kodaly; Death Scene fromBoris Godonov, Moussorpsky; ThreeDances from The Bartered Bride.

tl Smetana.

TODAY |VESPER MUBICALE (Sigma Alpha Iota!presentation). Soloists: Marilvn Ma-son. organ: Kees Koaper. violin: Mary!Louise Beehm. piano; Rachel Koerner,

contralto; Theedere Schaefer, organ.National Presbyterian Church. 5 p m.Concerto del Signor Torelli. Walther;Prelude and Fugue in D. Bach; Can*tllene. Langlais; Epilogue. Lancia!*;Intrada. Desplanes; Nigun. Bloch;Vivace ma non troppe from Sonatain C, Opus 78. Brahms: We Sing toHim. Purcell: Benediction Nuptialls.Feiclano; I Will Lift Up Mine EyesBowerby; Psaume XVIII. Honegger.,Psaum.f CXL. Honegger: PsaumeCXXXVIU. Honegger; O Mensch be-wein liein Bunde Orois. Hewlln; Dleupar mi nous. Messiaen.

CLAREMONT STRING QUARTET: Via-dimii Wcisman and Marc Gottlieb,vii'tfns: William Sehoen. viola; Irv-ine Klein, cello Sigma Alpha Iota!presentation. Shoreham Hotel. BlueRoom. 7:45 p.m. Quartet Opus 3f».No. 1. Boccherini: Quartet No. (I.Quincy Porter; Quartet Opus 51. NoI Brahms.

UNITED STATES AIR FORCE BAND.Lt. Harry H. Meuser. conductor. Solo-ists: William DuPree. tenor; JosephSoprani, accordion. Capitol Steps. 8p.m. Overture and Allegro. Couperin;Bolero, Smith: Country Wedding Sym-phony. Goldmark; La Donna e mobile.Verdi; Ride of the Valkyries. Wagner;Hora Staccato, arr. Cray; La Cum-parsa. Lecuona; Danse EspagnoleGranadas: Selections by the SingingBergeants.

UNITED STATEB MARINE BAND. CaPt.Albert Seheepper, conductor. 8oloists:James Erdman. trombone; FredrlcErdman. cornet. Watergate. 8:30 p.m.Wings of Victory. Ventre. Force ofDestiny Overture. Verdi: Blue Bellsof Scotland. Pryor; Dance of the.Tumblers. Rimsky -Korsakov: They,Didn’t Believe Me, Kern; Selections 1from Porgy and Bess. Gershwin;Fairest of the Fair. Sousa; Carnivalof Venice. Staigers; Selections from.Can Can. Porter; Finale from New!World Symphony. Dvorak.

TOMORROWHERTA OLATZ. mezzo-soprano: C*th-|

oiic University Piano Trio; CombinedChorus. Margaret Hillis. director.Sigma Alpha lota presentation. Shore-!

I ham Hotel, Blue Room. 7:30 P.m.The Night Is Dark. Gaburo; Trio. 1Finney; How Excellent Thy Name.:Hanson; O Love That Sings. Pyle:Adieu, Mignonne: When You AreGone. Delto Joio; The Fall. Pyle.

UNITED STATES NAVY BAND. WOAnthony Mitchell, conductor. Soloists:!Frank Scimonelli. cornet; Ben MitchelMorris, tenor. U. S. Capitol Plaza.8 p.m. Knightsbridge March. Coates;Barber of Seville Overture. Rossini;In a Persian Market, Ketelby; Span-ish Caprice. Smith; lolanthe. Sulli-van; Marche Lorraine. Gar.uc ; Ballet I

TURNTABLE TALK

Fine Cherubini MassIs Led by Toscanini

/~

By JAMES G. DEANECherubini’s C minor Re-

quiem Mass has arrived in anew recording under Tos-canini.

This mass is the one Berliozconsidered Cherubini’s great-est work. The recording is ofa 1950 broadcast by the NBCSymphony and the RobertShaw Chorale.

It is an exciting record ofexciting music. Angel sup-plied the welcomed premiereLP of it about two years ago,a smooth, suave affair. ButToscanini as usual supplies anirresistible added spark. TheDies Irae is almost literallyhair-raising. The Shaw singers,as in the Beethoven MissaSolemnis, Verdi Requiem andTe Deum and the BeethovenNinth, were inspired beyond jtheir normal ability to a reallystriking eloquence.

The sound is more brilliantthan Angel's. It does not seemhandicapped by its 1950 origin.The review copy, however, wasone of Victor’s poorest in sometime. It had a number of noisyblemishes engraved neatly inthe plastic. To make mattersworse, side two was off-center,

*** *

GALLIC FAREThe Faure Requiem has also 1

become newly available. Er-nest Ansermet conducts it forLondon.

Ansermet is an entirely dif-ferent sort of conductor fromToscanini. There is no such !intensity. But his more lei-surely temperament turns outto be well suited to this music.The performers convey a moodof quiet reverence.

certain conventions, can onedistinguish between the sacredand secular music of Pales-trina, Byrd, Lassus, Mozart,Haydn, Bach, or any otherreally good composer?

What Did Popes Seek?But what is good music is

not the present question somuch as what is the not tooclear desire of three eminentpopes. Mr. Hume speaks mov-ingly of the classical mass andof plainchant but he tells usof very little other music forthe celebration of mass thatcan be considered important.There are a few good com-posers on his list, but if theaverage is the best that can befound since the 16th centuryto enhance the Catholic mass,the Catholic Church is indeedin a sorry plight: Langlais,Murray, Nieland, Woollen,Carol, van Hulse, de Klerk, deLaet, Peeters, Plum, Ross, H.Andriessen, Biggs, Franssen,Huigens, de Jong, Meulemans,Pua-Teri, Refice, Samson, Sr.Maria Theophane, Ginder,Berthier, Bisegger, Bragers,Bucher. Campbell - Watson,Chassang, Dooner, Goemanne,Hilber. Huber, jenny, Kalt-

j neker, Kodaly, Mul, Nekes, Pe-rosi, Rehm, de Vocht, Zahner. |

It is true that the music ofmany of these men I do notknow too well, but I have re-cently heard masses by Ginder,Refice and Murray, and can

I report them inferior to Pales-trina. If in the literature ofmodern music from the 17thcentury to the present there isno body of music for the massbetter than this, would it notbe wise for a Catholic choir tostay within the safe limits ofPalestrina. Isaac and des Pres?What price reform?Much by Cathalic Composers

It is not Impossible for awell-trained but unprofessionalchoir to sing good polyphonic

See MUSIC, Page E-5

Tht Catholic University ¦'of America

Prt-Cslltjt Music Sectiea IEurhythmies Class

I for children t«o S yson prior to IIinrlrumonlol mmic iluOy SlrotMr IEphyncol coordination and bo tic |[training in rhythm and pitch dit- ||crimination, SIO.OO par 15 wk. term. II

IMain Campus—4th andMichigan Avenue N.l.

Fall Term leg mi Se»»ember 13 HBegilt ration September 4-15

Wnte or phone Dept The ¦Catholic Vniteesttp of America. ¦Waektnpton J? D C. AD*nt ¦Mill,tit. |f,t. |

[ The soloists, Suzanne Danco! and Gerard Souzay, contribute

significantly to the eloquenceof the proceedings.

Another French choral work,Lully’s Te Deum, has arrivedfrom London. By all evidence,including the list of per-formers, this appears to bethfe same performance issuedtwo years ago by Westminster.

Lully’s piece, which like thetwo others above occupies afull LP, is a striking work,bouncingly vigorous. This isthe work, incidentally, forwhich Lully was beating timewhen he hit his foot with hisstick, resulting in infectionand death. Doubtless it alsohelped in introducing lesshazardous conducting imple-ments.

The performance is a livelyand apparently satisfactoryone. London’s edition hastempered some exaggeratedhighs which appeared in West-minster’s. The music is cutoff at the end of side one and«started on the second side tooabruptly, however, and textsare not included, as they wereby Westminster.

A considerably earlier choralwork, the Missa Caput of theRenaissance composer, Guil-laume Dufay, has also beensupplied by London. This datesfrom the 15th century, Lully'sfrom the 17th. Dufay's workis sung by male singers, witha trombone occasionally dou-bling the tenor part. Theeconomy of means makes aninteresting contrast with Lul-ly's, which include strings,organ, trumpet and drums.

*** *

CHAMBER CONCERTOEconomy applies to a sel-

dom-heard double concerto bythe French Franck-disciple,Ernest Chausson. which hasbeen provided by Columbia ina recording by Zino France-scatti and Robert Casadesus.

This concerto employs mere-ly a. string quartet as theinstrumental foil for the twosoloists, which makes it, prop-erly speaking, chamber music.

It is an ingratiating work,and the performance, whichutilizes the Gullet Quartet, isa fluent one.

Either Benar Heifetz, thecellist, has changed his nameor Columbia has inadvertentlydone it for him. It comes outon the label as Heifitz. What'swrong with the second "e"?

*** *

RELOCATIONA note from the Boston

Symphony management sup-plements a recent commentabout a BSO record.

This column, reporting on aMonteux-led performance ofthe Debussy Nocturnes and“La Mer,’’ surmised that theywere recorded at Tanglewood.because the Berkshire FestivalChorus was involved. Butnot so. !

Two days after last sum-mer’s Anal outdoor concert,the BSO discloses, orchestraand chorus Journeyed to Bos-ton’s Symphony Hall for therecording session. Whichreally makes it an even moreinteresting record. Still a goodone, too.

THE CATHOLICUNIVERSITYOr AMERICAPRE-COLLEGEMUSIC SECTIONMaale Lmmm A Classes(non credit)

> Children (• op) andAdults

IAll Inolrummit and? •IceVfiulr Element* andTkeary ClassesJr. OrchentrmJr. Ckstittlurhylhmic* (Apes 8-1)

Fall Tor* Bag in i September 11Regiotratien September 4-15Newly (•ustruetedFacilities

Phone ADaasn 2-8080.Ext. 433 far fartherlafarasatiaa

' 1

LATEST TV INFORMATION, Television programs for the week are carried in the

TeleVue magazine with today’s Star. Following is supple-mentary information on today’s programs received terTeleVue went to press.

8 p.m., WTOP (9)—The Ed Sullivan Show: RedSkelton will sub for Sullivan. Frank Sinatra will make a

, guest appearance.

i ——_____________5

1 Radio Today— Sunday, August 19, 1956i ______ 1\ A.M.I WMAI—63O WHO—9BO WWDC— I26O WTOP-1 506 i WGMS-570

:I0 Ritia lIUli Class Faith In Action Santa, Simile CBS N,«i winy* ,1

8:11! ”” Bible Still, Naur " CIS Firm Nlwt Healing

:M lint, Life Hear " " Haws; Mel. Time Churck as Frank an< tree:!•

_

:*1 i " " i ” ” Males, Time Ike Sir Maiterfieceil :M Chaste Fe.pla WarlS News' tlkum Time Wane New, Nani; Faith

9:15 Christian Selaaca Art at Living Alkum Tine Year Cardan Vaicas as Faith:S* Heartbeat Vaica as News; Star Tina Church as ” "r *« Theater Fraphac, star Tina The Air ” ”:N Haws; Message Natlaaal Mia Fid Fiiha Shaw HinTThiatar News; Caacart

; 4A*l* a» Israel Raißit - •• Children s Th. Sunta, Caacart| U'H News; Hear News: Maaitar News; Fiska Music far

*•• Mariaaa Maaitar Sugar Spirituals jnitatlia News; Music• 4 4 :IS la Ruvtiw

” ” •’ -t, Learning Music at HuntI I =s* Nuws; Christinas News; Naw 4th FresbYtariaa salt Lake " "

: :15 ia Acting Maria Church Taberuclu ” ”

• f-M. WMAL—63O WRC— 9BO;N Paa Antrim Maaitar Parry Cam Naan; Miaaiiii Michala’s

e 4 17 7 a«n WWi Mm Gw Ccmpmmy16213 6A. AVE. N.W. TA. 9-3036

CALL TODAY {o> nil ESTIMATE 4

RADIO HIGHLIGHTS8:15, WRC—Faith in Action: 3:15, WDON, WASH-FM—Cap-

‘‘Meetlng Current Problems ital Productions: “I Remem-Around the World.” Mission- ber Washington" is a science-ary J. Harry Haines will be fiction story of D. C.’a lastinterviewed. survivor after an atomic war.

10:05, WMAL—Message of Israel: 6:00, WGMS-AM—Walter Win-Rabbi Charles Mantinband, chell reports the news,speaks on ’’Judaism for Our 6;0o. WDON, WASH—In theDay- ” Concert Hall: Tchaikovsky,

11:00, WEAM Jewish Family Symphony No. 4in F minor;Hour: Jewish music and news Schubert, Symphony No. 8featuring Marty Lerner. in B minor.

1 12:00, WMAL Pan American '6:05, WTOP—FBI In Peace andParty: Felix Grant and Senor War: The story of transpor-Alberto Paz are the co-hosts. tation and distribution of

12:30, WGMS-FM Concert illegal slot machines calledHall: Handel. Concerto Gros- “The Front Man.”so in G: Schubert, Overture 6:35, WRC—Meet the Press:to Rosamundo; Franck, Sym- Guest is Leonard W. Hall,phony in D. Chairman of the Republican

1:25, WWDC—Baseball Double- National Committee,header: Reporting the play- WMAL—Campaign Lis-xb,r^yJeSCurip iOnS ? u,he Post: From San Fran-Washington-Boston double- ciscoi a pre .Republican Con-header. games are Bob Wolff ventjon program .and Arch McDonald, direct .

.

from the Boston playing field. 10: W^L— £?n,h?m:2:00, WARL—Hillbilly Hit Pa- J 11® edlt or °f the Christian

rade: The Nation’s top 10 Science Monitor reports andCountry and Western songs, the neWs.on record, spun for you by 10:30, WRC—American Forum:Don Owens. “Republican Campaign Strat-

-2:05, WTOP—World Music Fes- e &y-” Guests are Gov. Good-tivals: The Holland Music win Knight of Calif.. Gov.Festival which will Include Fred Hall of Kansas, Gov. J.the first broadcast to America Bracken Lee of Utah, andof the Czech Philharmony Gov. George Craig of In-under the direction of Karl diana, presented live fromAncerl. San Francisco.

2:30, WGMS-FM Sunday 11:30. WTOP—Face the Nation:Symphony: Beethoven, Leo- Thomas E.. Dewey, formernore Overture No. 3; Tchai- Governor of New York andkovsky, Symphony No. 4 in twice a candidate for the

, F; Mozart, Piano Concerto presidency, is interviewedNo. 6 in B fiat. from San Francisco.

a

NEVER BEFORE SUCH

COMPLETE CONVENTION

NEWS COVERAGE!

/republican MI NATIONALIconventionJ

¦ill

1 Iwßll *

TOMORROW! 2:00 p.m. &7 p.m.WMAL-RADIO dial 630 Ke.

ABC Radio Network

Our Kitchen Planning Department has a sugges-tion for the modern homemaker who wants tomake hausawork mare pleasant!

\ WITH A (itcheoAid HOMB DISHWASHKK /I\ /

¦Br /VB i W Wt * WSrtm

I . K 1040 ,r9 \ U§o I lt'» eosy with the fre*t*J door ond »h«

j*0 independently ilidinf

/ HOBART MVOLVINO \*-*«*»*

f WAIH ANO RlMtff \ | CATCH ItCJKI/lAflO flllCTt/CJ l MkJ fM„w7ftaharti J HOT AIR DRYING! j yLljjJ .OlToetlO«!{ \ FRONT ORINJN9 OOORf } % Isa oanyl

\ INDIUNDINHY UIDINO / IIAVIIt» RACKS/ (unIH BACK / f And laa.e yoar dill,.\ TWO-lOtniON) J I !¦ wosJilflg,fai*la»—fo*vmV .V r~4pm Ifbright, CIIANdishall\ TOV’tl IOVI 111

KifchenAidTMAOCWedARerHOME DISHWASHER

»10313 KENSINGTON

PARKWAY /KKENSINGTON, MD.

LO. 5-8970 \^/? r

E-4