Evening public ledger. [volume] (Philadelphia [Pa.]) 1914-1942, 1916-03-17
HERMAN sANDBYs RECTAL
Composer and Retiring PRINCIPAL
Cellist of the Orchestra Gives
Farewell Program

| Herman Sandby appeared as solois, on
| semble player and composer az his fare-
we'll recital which drew a large audlencs
| to witherspoon Hall last evening Mr.
| Sandby bore virtually the entire burden ~
the program. George Harris, the Young
| American tenor who had been billed to
| sing -four numbers by Mr. Sandbv in
cluding settings of words by Oscar wilde
| and Walt whitman, which contained
| tempting possibilities. wired Iast-ninute
regrets at inability to sing, owing to sud
den larynRitis.
Mr.. sandby decided to carry out the
program himself, q procedure which was
evidently to the pleasure of his admirers.
To add touch Of novelty he enlisted the
cooperation Of Vincent Fanelli, first harm
| iSt OF the orchestra. to accompany him
in two groups These added the Ber.
ceuse. from Godards "Tocelyn"; Dvorak's 3
Gypsy Song" Glazounow's Spanish
Serenade,' his own "Icelandlc Folksong,"
Sibellus Solitude" and Poppers Ca
vctte" to program which began con.
ventionally with Dvoraks minor Con-
certo, and traversed the first public play
ing OF three original pieces OF Scandina-
vian folk music for violoncelo violin and
piano: Debussy's "The Bells" Dvorak's
Indian Lament" and Davidoff's at the
fOuIlIdlI lie 0CaIlUlan music, IN wnlCn
SIR. Sandy had the deft collaboration Of
Emil F. Schmidt violinist of the orches-
ira. and Ethel Cave Cole, pianist who also
was the adept accompanist of the evening,
Included "DavisR" (Swedish), "Gangerpil-
ten" (Danlsh). and Spring Dance" (Nor-
wegan). The original program held much
Of interest; in its reconstructed form il
was SO well adjusted that hasty rearrange-
ment was not obvious.
powering In the Dvorak concerto and
nothing in its intrcaces overtaxing to a
performer of Mr. Sandby's skill. Through
the allegro which he took at an eNtraor-
dlnarily rapid pace, creating admiration
for his fieetness of fingers, and adago
and part of the finale. its simple state
ment of themes and fortnight develop
ment afforded an agreeable object lesson
I'm the sonata form, but at the last there
were mounting flights of power and pas
sion on the wings of which Mr.. Sandbys
spirit scared.
But he reached the cor cordium" OF his
hearers emotion in the incongruously
subtle smplicities of his folk music. naive
superficlally, but invested with the ages.
long wisdom of the folk soul and touched
with the melancholy of the north
Always was there the tang of the earth.
never was there sophlstication. And II is
In the devices of composition. to spoil the
idyllic feeling Of such a thing as the
Morse Spring Song" Mr.. Schmidt's vio.
lin spoke up finely and truthfully and Miss
Cave Cole gave semblance of orchestral
background, never over-emphatlc. at and
through the piano.
The other-worldly intangibility of the
Debussy Bells was triumph for the
soloist's faculty of Interpretation. just as
the ripping onomatOpoeia of the FLASHING
water in the Davidoff. the lifting measures
instinct with the spirit of the dance. of the
Pepper Gavotte and the Slav idea of
Spanish rhythms and serenading were Il
triumph for his technique. Mr.. Fanelli's
harp did more than mark time in accom-
paniment, It blended beautifully with Mr.
Sandby's choicest tones. in some of these
exhibits of virtuosity and as well in the
familiar GODDARD Cradle Song and the wide
and wistful yearning Of the Sibelius mum.
ber.
Mr.. Sandby had to repeat Sibelius' "Soli-
tude," and as final encore gave the Fin
nish composers hauntingly tragic Valse
Trste. Earlier in the evening he gave
Saint Saens' lie Cygne" in response to an
insistent demand for an encore.
w. r. NJ