The Washington times., 1921-11-05
NOVELPROGRAM
At CONCERT IN
SMITH SERIES
Leeinska, Piano, and Kinder.
Cello, Shift Abruptly From
Classic to Ultra-Modern.

1t was a daring program presented
by Leginska, pianist, and Hans
Kinder, 'cellist, at the National
Theater yesterday afternoon, for the
second concert of the Ten-Star Series
under the direction Of T. Arthur
Smith. With no transition, this program
went abruptly from the classic of
Brahms and Bach to the ultra modern
in Leginska herself as composer, and
in an Ornstein sonata for cello and
piano. though the latter was absolute
music bearing a racial touch almost
ritualistic 1t was not Ornstein the
iconoclast.
Leginska and Kinder have a rare
svmpathy between them in concerted
work. Both artists are highly imagi-
native, and with Leginska the mystic
in music was dominant, making the
piano suffuse its tone quality into
that of the deep-hued cello.
Vague Tone Color.
With a vague dark tone color, with
reserve and gentle theme painting, the
E minor Brahms sonata for cello ana
piano, opus 38, was given with de-
lightful interchange of melody, the
classic forms having an infinite variety
of character and execution, both
artists keenly sensing the Brahms
rhythm. Suave melody brought out
the rich tones of the cello, while
fantasy was captured Charmingly in
the piano score.
The Ornstein sonata, opus o2, had
a first hearing here. 1t is oriental
and most poetic, with its singing
themes vibrantly given by cello. while
throughout the score the piano seems
to paint another picture, detached yet
like a scenic and at times an emo
tional background for the impasslon-
ed love songs, the sadness ana the
beauty OF the 'cellos singing soaring
richly against the fatalistic reltera-
ton of the piano themes.
A tone picture and mad mood
were the two compositions that
brought Nine. Leginska to us as com
poser. She played, as piano solos her
own "Gargoyles of Notre Dame and
a "ScherZo" after a poem of Tagore.
Some one asked If we like the 'Notre
Dame" sketch. 1t is more PHILOSOPHY
than mere music. 1t iS so designed.
For out over Paris look these stone
images that bear human masks, ana
Paris impenetrable, sends out first
her dim rumble through which the
bells of Notre Dame penetrate, then
those street cries of Paris like De-
bussy has created, and suddenly
capriCiouS StaCCato, charming in tune
and in erratic execution, adds another
whim. 1t is a modern tone sketch
holding much that is abstract with
nothing baral in its makeup.
TagOre I'm Music.
Then, iconoClastic. with dissonan"rs
in mad Joy, comes Leginska' idea of
the Tagore philosophy, For | know
it's the height of wisdom to be
drunken and go to the dogs. It's
reckless. not always forceful, fantastic
and all smudged in tone; more in the
manner of impressionistic painting
than music's message, but since we
have this modern thought to reckon
with here is its representation III
STRIKING music form.
Hans Kinder was masterful in his
soaring commanding use of his cello
and in the G minor Bach prelude and
Fugue" and for encore the Bach
"Bourree" his flowing tone, musical
and clear articulation was deeply Vi
brant and lovely. Nine. Leginskd
played as encore the Chopin b minor
SChcrZO in broad form, biting and
tragic, yet with a muted sadness that
was original in it's veiled tones.
Something fresh and original came
into the music season in a novel re-.
cital with new thought in 1t from two
forceful artists, Leginska and Hans
Jessie MaCRRJDE