The Washington times., 1921-03-19
.SAMAROFF GIVES
LECTURE RECITAL
Artist Interprets and Performs
Beethoven Sonatas to Ma
tionaI Audience.

1t Is seldom that an artist can NIL
the double capacity of interpreter and
lecturer so graciously> as did Nine
Olga Samaroff at what she disclaimed
as 'lecture-recital' on the Sonatas
of Beethoven, given as the ninth Of
the Ten-Star Series OF concerts in the
T. Arthur Smith course at the
National Theater yesterday afternoon.
The very personal and intimate un-
derstanding that Nine. Samaroff i'm
mediately established between her
self and her hearers, made this very
comprehensive expansion of the grand
master of music. real glimpse into
the way an interpreter thinks and
feels about the master work to be
re-created in sound.
Above all. she urged that music
lovers wage war against that
American term "highbrow" that the
men particularly use as excuse for
rejecting the lofty in art. that cul-
ture which must become a part of our
national life.1
So in her Beethoven IL was essen
TALLY the humanity" that she
brought out, the "emotion." defining
it as that "indefnable thing that all
ages have in common" But foremost,
personally. she finds here nothing
sensual no imentality--things in
which the moderns have almost over
stepped the bounds.
The sonatas Nine. Samarosf chose
were two of the early ones. express
ing youth" then the great "Appas-
sionata" which with all its. mystery
and "storm and stress represented
"maturity," and finally the opus no.
veritably an apotheosis, Of spiritual
beauty and of that superb life sermon
Beethoven preached. by overcoming
tragedy Of life with an herotc cheer
and Joy. indicated in tone.
Such an exposition, SO full-orbed in
its scope, found it's illust ration In the
rarest OF playing. Nine. Samarof.
with purest tone and most delicate
tracery or figures. brought out the in
Unite variety Of the Beethoven modu-
lations, his diversity in phrase and
that compelling flow OF sound and
idea into which the player must put
his own self. rendering 1t dull or in
spirational.
Rocco" she used for the opus 40.
Nos I and 2, charming staccatos, a
hunting phrase. its echo, etc. etc.
Strangely searching was her transition
into those deep strains. as of some
mysterious fate, in the opening OF the
Appassionata. Masterfully given in
smooth technique, there were moments
OF tears in suspended emotion as she
went into the melody of the andante.
with covered tones. harped arpeggios.
frst soft, then dominant. as the temp
est developed in gripping chords.
Truly there are all things in Bee
thoven, when so richly painted in tone.
The Sonata 40, contemplative, rem
iniscent, was filled with liquid beauty,
while the loveliness OF the repeated
"arioso dolente" was seemingly i'm
provised with an indescribable charm
of rare feeling. That fugue, the artist
described as the "Greek chorus" truly
supplemented that arioso whose tone
values. rung out singly, will remain
as a potent soliloquy as II from Bee
thoven himself.
The Beethoven march. ruins OF
Athens" was given for encore, and
finally returning to half-empty
house. Nine. Samaroff gave exquisite
ly the Brahms "Intermezzo." vaguely
and as though in contemplation, leav-
ing her hearers with a spell upon
them. reluctant to renew the routine
of the passing day
Such surely Is the mission of
music. As its emissary Nine. Sama-
rolf proved her point in rejecting the
advice of managers, who. feared a
Beethoven program" and in bringing
the human Beethoven as an uplift and
delight In life. JESSIE MacBR1DE.