Evening public ledger. [volume] (Philadelphia [Pa.]) 1914-1942, 1916-11-17
A PAIR OF RECTALS
BY THREE MUSICIANS
NINE. Samaroff Plays Brahms at
the Academy-Kindler and
Zeckwer in Joint Concert

Two recltals Of even more interest than
the names Of the announced artists in
uloated were given Yesterday Olga
samaron, who played In the Academy OF
Music In the afternoon was ono artist
anu inc other two were Hans Kinder.
one OF the cellIsts Of the Philadelphia
orchestra, and Camille Zeckwer tho pianist
ana composer, who combined their talents
uuuer the auspices Of the Philadelphia
Music Club in the Rltz-Carlton ballroom
~ night The audiences at both AFFAIRS
were large, the overflow at the latter
junction uor II was that socially inunJat-
ing the adjoining tcaruum,
Nine Snmaroffs autitora principally
women, hled the parquet OF the Academy.
though there were a few empty seats else
Where In the house. II is not extraordinary
mat she should attract so many feminine
listeners, for no pianist OF today has less
OF mere prettness, or fcbrillty, In her
art and the sexes usually seek their
esthetic opposites In cultural enjoyment
ier program was arranged with sound
perception OF pianistic possibilities. II boz
gan with the lovely Brahms sonata In r
minor. piece full OF hearth glow and quiet
rapture and the peace which does not pass
All understanding, simply because 1t In
within the comprehension OF most Of us
Nine. Samaron has for a long time tor so
IL scems) been possessed NJ the stately
gesture, and that was not lacking In her
playing OF the sonata But she must have
surprised even her most rapt admirers by
the manner IN which she Interpreted the
intermezzo, with its musnE tones and
rcminlscence and air of "old, unhappy far
off things" II was a breath OF pure poetry
The scope Of the players art was Indicated
by the way in which she made her instru-
ment now soft as a cclesta, now deep
throatcd as an organ. Occasionally she
rather spoiled her effects In the grand
manner" with too much nsstence on mere
sound-her most besetting fault, other
wise II was perfect Interpretation.
The measure OF her versatility was
tested. with an affirmative answer. when she
turned from the gray beauties Of brahms
To the Vivider beauties OF Chopin Any
pianist who can do that Is important, and
Nine Samaror can. and did do It.. In the
famous nOcturne, the little downward runs
slipped from her fingers like pearls from
thread The sllvery tiuklc OF the G nat
major etude fascinated everyone so that 1t
had to be repeated The three preludes
alternately sombre and dazzling, were OK
ecuted with the finest sort Of restrained
emotion. All five were, RoSsctu said
OF the sonnet "a moments monument
and something more DE Pachmann him
self could not have bettorcd them they
were played.
Nine. Samaroff's other numbers were the
intricate prelude, chorale and fuguc Of
Cesar Franck, accomplished with great
technical deNterity; an clegy dedicated to
herself by Ossip Gabrilowitsch. also n
pianist, and n merry arabesQue on themes
from The Blue Danube waltz, by the
evergreen Johann Strauss.
The concert at the Rita by the two gentle
men was pleasant but not too heavy con-
junction OF pieces. II began with n Boo
Chcrini sonata for cello and piano and ended
with RubinstCin sonata OF the same sort
Intervening numbers were four OF MIR
Icckwer'a own pieces as piano soil and
-four cello soh by Chopin. Godowsky and
Mr.. HeCllwer. played by MIR. Kinder. The
merits of both artists are by this time well
enough established to need little comment,
But it may be said that Mr.. Kinder never
appeared to better advantage. He has
youth, passionate devotion to his calling.
and good schooling. There is no reason
why he should not be master before long
II he keeps his head. BID.