Evening public ledger. [volume] (Philadelphia [Pa.]) 1914-1942, 1916-03-16
NpLER.HAMMANN RECITAL
Pianist and Orchestra 'Cellist Join
Forces in Fine Program Ex-
cellently Presented

Hans Kinder, the 22-year-old violon-
cellist of the Philadelphia Orchestra, who
has attained phenomenal popularity dur
ing his two seasons In this city, and Ellis
Clark Hammann, known normally as ain
accomplished accompanist, to the detri-
ment OF his reputation as an executive
artist Of large ability, Joined forces in a
recital which drew a large audience to
witherspoon Hall last evening.
The audience was finely rewarded for
its hardihood in daring the weather. In
quantity of material presented for the
hearers attention there was no overplus.
II was perfectly possible to assimilate
what was offered without overtaxing the
musical digestion. In quality the pro-
gram had variety and interest, II had
nothing trivial, nothing cheap. It deserves
printing az a model for its skilled con-
struction. its articulation of numbers de-
signed Justly to exhibit the performers
individual mastery Of virtuosity, their
quality as ensemble players and their fac
ulty of Insight and Interpretation. The
program;
Senate or. 90 in A major Cpiano and
Cello) ACKNOWLEDGEMENTS. beethoven
Allegro. ma non tanto.
AdaEIo cantibie.
Mr.. Hamnann and Mr. Kinder.
sSTHe EoveiIetts No in I, major schumsnri
Nocturne IN T. sharp. p...,...,....,.. .Ghopih
'''''''''' !" Mr. Hammann.
Largo ...,..,.......,...t... .s.,.s'.. .Ihopn
Ritornel ;sni,,rss ;Sihiu.ns
Seh'FHo' Caprice MIR kinder. :''''''''' Ne'S"eF
Variations Symphoniques tcello and
Plh"0 Nir. kinder and Mr. fIammahn He''''''''
The Beethoven sonata opened the pro-
gram after n convention which Is wisely
employed by skilled program makers. 1t
set the audience In good mood through
Of a gracious classic. The
pair Of players attained remarkable unity;
it would be impossible TO say that any
was outstanding in merit of
performance, so absolutely maintained
was the sonata's integrity as single
work of art
1t was n great pleasure to hear Mr.,
ITammann again as a concert pianist The
with which he obscures the ac-
to the soloist when he assists
at the rectals of others was present but
simply as an agreeable factor in the ex-
position of an admirable artists person
atty The individual touch was impaired
TO everything he played. There was the
sense of something different In the famil-
ar things he offered; through the play
ing they lost any charge of being hack |
leyed. The Chopin Nocturne was highly |
poetic The Tausg transcription of tho |
Scarlatti idyl which lifts 1t out of Its |
simple quality to n show piece left moth |
ng 10 be desired in technical display.
Mr.. Kindlers spiritual values were beau |
fully evident in the Chopin Largo. II |
ouched both the feelings and the imagina- |
ion with its usefulness and loveliness. |
Pleasure in his playing turned to marvel |
Is his gracile, facile fingers created won- |
lerfu tones in the Snding Ritornell. |
mn ~ hnyptru CT n,l,, hat
lot reached the absolute when he dashed |
If almost as n tour de force the diff |
ult and fascinating Scherzo- Caprice of |
'amille Zeckwer. He Is an extraordinary |
'oung man, with his look of the young |
shelley, and some of the poetry. too. Best |
f all, lie remained the cellist, pure and |
imple he did not strain to produce the
fleets of the violin or the contra-bass
lie handled his instrument with loving
.indness, affectionately revealing all its |
egitimate resources and charitably COW
ring its limitations. w. r. NJ.