The news scimitar. (Memphis, Tenn.) 1907-1926, 1920-02-25
Feast OF Harmony
In Joint Recital
OF CAMS pdLding

Hearing two Of the worlds greatest
luSlelans in one evening in concert is
bit unusual, even in this day of
reat events, yet this was the privilege
II the large audience at the Lyric
eater Tuesday evening. Rudolph
FAM. pianist. and Albert Spalding.
iolihlst, We're the artists, appearing as
fractions of the course offered bv
kngelo and Joseph Cortese, who are
of1ig much toward musical develop-
bent in Memphis. The concert was a
Genuine treat and of such merit as one
plight expect from luminaries who have
|cf1eved the degree of brlliancy thew
ave, Let it also be said that Andre
Beholst, accompanist for Spalding. did
lot suffer in the least by comparison
|Fith the better known stars It is
fau1ylng' to hear really fine aC-
lompanlst. and it seems that more at
|ention is being given by the great
myers and players to this feature
Which is but an indication of a broad
|nlng Of musical knowledge and educa-
ion.
Because of some mixup in getting the
'lusic for the opening number on the
Program to the theater on time, after
Iome delay Rudolph CAM opened it
/ nth two Chopin List numbers,
Maiden's Wish" and My JOYS" 1t
as been said by the critics who hear
II the world artists that none can do
lreatest justice to the works of List
harm of his rendition of these initial
elections adapted by that composer
rom Chopin was such that everybody
kas on the qui vive for more. The
purth number of this group, Weber's
Perpetual Motion" was a marvellous
sehicle for demonstrating his technical
Iktll without the big pounding and
ferve tracking attack on the defense
Iaanists offer
In the second group CAM opened
t1th a capriccio for the right hand
Hone. an original composition, which
Nicited spontaneous appreciation, fol-
owing with After Midnight" another
II his own. Then came one of the most
Ieaghtful numbers on the program,
kiszts "Petrarca sonnet in A flat and
PIE. same composers 'Polonaise in E
hajor." In the big joint number for
piano and violin, Beethoven's "Kreut-
Ter Sonata" wonderful effects were
Ichieved and harmonious beauties be-
ween the two instruments gave una1-
byed pleasure, except that this num-
per. which took 40 minutes, was a bit
700 long and technical for the average
listener.
In Albert Spalding the United States
hate artists worthy of the many good
Things said of him A native Of Chi
Iago and member Of the family SO Well
nown in baseball circles, he ranks with
The very best Yet he appears as plain
/ nd unassuming as any normal young
american could, having none of the
ldiosyncracies of some who come to
Il s from the old world He displayed
Iare skill in his initial local appear
Ince and won for himself with those
Who heard him a lasting place in their
lrtistic affection. Perhaps his program
Eas not quite as popular as it might
have been yet he received warm and
enthusiastic appreciation. He played
Is his first selection a Bach prelude for
Ihe violin without accompaniment,
Which showed the master. and each
tucceeding number gave added pleas
l9es. His attack is sure, yet there is
| delicacy of touch which shows him
b possess deep sympathy. His instru
bent fairly sings for him and there is
llarity of tone even when he draws
hem down to spider web fineness,
Which he does with such frequency
| One of the most exquisite numbers
Ehile the Chabrier- Loeffler scherzo-
lalse, though of distinctly different
Iort brought rapturous applause. His
Jlaying in both was so entirely natural
lpd unaffected that it was noted and
aFen the most difficult technique was
Executed with apparent ease. His final
umber, the La Campanela" of Pag-
mini, was a fitting climax and perhaps
1lade greater appeal than anything else
10 those who enjoyed technical skill
GEORGE WILLIAMSON.