The Columbus dispatch. (Columbus, Miss.) 19??-1922, 1922-02-26
BRILLIANT WORK
OF OUR JUNIORS
Recital On Friday Evening De-
light And Pride OF The
College.

The first of the series of spring
concerts began on Friday evening
when Miss Poindexter presented il
concert representative. Juniors
Edyth Rhyme, Francis Ferris, Lor
ainne Bryson, Susie Bridges, Dorothy
Porter, and Mary Ellen Adams.
At an early hour the "new" au-
ditorium that had been so artistically
decorated by the Freshmen, was
packed with eager listeners and pleas
ant admirers-fathers mothers, town
friends and the student body. The
event began by the Freshmen music
class singing to it's worthy sisters,
who had worked so hard and had at
tanned so much. The Freshmen en-
tered in single file and carried the
Junior colors, "royal purple and
sweet lavender,'' as they marched
down the center and side aisles and
placed the colors around the edge of
the stage. They sang most Justify.
"Our hearts cheer you and revere you
for the work you've DONE" Then
they yelled with all the pep any little
sisters could possess, Juniors! Rah!
Rah! Sisters"
The program began by two short
duos by Susie Bridges and Dorothy
Porter. "The Summer Idyl" was a
soft melodic lyric, while the "Few
Roulant of Duvernoy was vivacious
and abounding in beautiful runs.
These young ladies played with alb
solute control and perfect time. The
tones were in such unison until one
would think they were coming from
one piano instead of two.
Edyth Rhyme played two most de-
scriptive pieces by a Norwegian COM
poser, Torjussen. In the Rising of
the Sun" the melody was with the
left hand with a soft flute-like ac-
compartment in the right. Edyth
played the professional" so express
sively and clearly until the listeners
could just see the torchlight parade
in the distance; then imagine its ap-
proach, its passing by and the fading
away in the distance.
"The Egeria" or (Fountain) played
by Dorothy Porter was a beautiful
composition in which the left hand
sounded like sacred lyric,
while the right hands soft runs re-
sembled the bubbling water Of the
fountain. The expression and delicate
that Dorothy effected in this
was superb.
Lorraine Bryson interpreted a com
position that was a beautiful COM
Of the melodic and technical.
We always knew that Lorraine star
red in all her major literary work
with brillance but now we "have an
other line" upon which to praise her
efficiency. We just have to hand .
it to Lorraine, what she does, she .
does excellently."
When Mary Ellen Adams came out .
and gracefully sat down to the piano .
we knew to expect the very best in
and the most skillful
.echnique. Mary Ellen plays the un-
usual remarkably. Across the
by Schuytte was an ex-
Iuisite lyric while "The Prelude" by
Stoiowsh was a most difficult tech
iical composition. Mary Ellen play
ID it wonderfully. All we could do
vas stare in amazement at her hex-
bic, rapidly moving wrists and say:
How do you do it?'
Susie Bridges rendered two beau
fully contrasting pieces. Though
he melody was entirely with the fifth
niger in the Schumann "NachstuckeT.
susie produced a most connected and
Expressive succession Of tones. But
n that Pony Race, So light, rapid
md vivaci0usl
A concert waltz played by Francis
ferris won the admiration Of every
ne for she played it most brilliantly.
francis. too. deserves the best Of
redit for she has been At ". s. G.