Evening star., 1921-03-19
AM MUSEM ENTS
Nine. Olga Samarof.

Nine. Olga Samaroff, pianist, gave a
recital yesterday afternoon in the Ma
tlonal Theater, her program compris-
ing four Beethoven sonatas She pre-
faced her playing with short and
graceful explanation that the Sonatas
CHOSEN were representatives of differ
ent periods in the life of the great
composer. This concert was a rare
treat in every way. and the large au-
dience showed it's thorough apprecia-
ton often with enthusiasm.
The first two sonatas, opus 40, No. 9.
III major. and opus 49, No. /, in G
major and minor. We're published in
1902. though written much earlier.
The one in G major seems more ma
ture. Both We're written in Beethoven's
early life. Nine. Samarof gave to
these the delicate and sparkling scales
and the crisp chords and tones which
SAVIOR of the clavichord of Beethoven's
time.
The third sonata was opus 81. in F
minor, known as the Appassionata. In
charming talk preceding this work.
Nine. Samaroff classed this twenty
third sonata as the work of the ma
ture man. saying that in it appeared
the whole gamut of human emotions.
She spoke of the loneliness of Bee
thovens life, this very loneliness driv-
ing him to express his own feelings
the more strongly in his music To
this number Nine. Samaroff gave a
majestic breadth and beauty of tone.
particularly in the great massive
chords in the somber opening, which
Is in strong contrast to the wild tur-
bulence OF the latter parts, that were
given with wonderful brilliance and
skill.
preceding the last number. opus 10,
IN A nat, the composers thirty-first
sonata, Nine. Samaroff referred to the
two great sorrows in Beethoven's life.
ms disappointment in his nephew and
his own deafness. Except for his few
intimate friends he lived in absolute
solitude.
The thirty-frst sonata. she said,
written when the composer was to-
tally deaf. was to her symbollic>of the
triumph of "A great spirit. overcoming
the difficulties of life on earth This
she played with great reverence, a
lovely restfulness in the first move
ment, and in the second. the Motto
Allegro, she showed her sparkling
,technic, with its limpid scales. mast
erly arpeggios and perfect trills. The
last movement was a return to the
more reflective, and the gifted player
gave it a really spiritual interpreta-
ton.
After she played the first sonata,
which was interrupted between move
ments by appreciative applause, Nine.
SdmarOH tOlQ her hearers that while
she appreciated the enthusiasm she
preferred to play the sonatas through
as a whole, a wish the audience there
after respected, adding greatly to the
continuity and beauty of the music
and to its enjoyment.
AT the close of the recital Nine.
Samaron was recalled many times
and graciously responded with a
double encore, first playing the ia
nous Turkish March, the ruins of
Athens" by Beethoven. which was re-
ceived with such enthusiasm that she
played an intermezZo of great beauty
by Brahms. Nine. Samaroff used
muff to keep her hands warm during
her talks between the numbers. due
probably to Seriousness. thougho she
showed no trace of it otherwise, yet it
was entirely excusable in such task
as performing four great sonatas
from memory.
She spoke extemporaneously in
graceful. unassuming manner, clearly
and distinctly.
This was the ninth concert Of the
Ten Star series. the last Of which
will be given Friday, APRIL. by Paul
Kochanski, violinist. The seventh
season of this series will open Fri
day, October %, in the National Thea
ter. to the qualification of its many
subscribers.