Evening star., 1923-01-19
ADJUSTMENTS
Nine. Olga Samarof's Recital.

Nine. Olga Samaroff has such
charming personality that it almost
overshadows her ability as an artist,
talented as she is. She says she isn't
poise and informal manner of ex-
planning the few notes she felt nee
essary to impart to the large au-
dience last night at Masonic Temple
auditorium quite captivated all who
listened to her. The auditorium was
filled, Notwithstanding the rival con-
cert given by Siloti in the City Club.
Nine Samaroff is ranked among
the greatest woman pianiSts In the
world. and her skill as demonstrated
last night more than proves her
right to that title. Her interpreta-
tion of the Beethoven Sonata, Opus
10, No. g" was most interesting. The
first, the allegro, movement was
played with feeling and with soft,
well-rounded notes; the allegretto
movement carries the, real theme OF
the sonata in its most simple and
charming form; the presto movement
was played with exceptional even
ness of rhythm and precise phrasing.
The next group, three of Brahms
compositions, was equally dellghttui.
The "IntermeZZo in + Flat" which
madame described as suggesting a
lullaby to her, was played with
poignant note. The "Capriccio in
Minor" also was well played. The
Rhapsody in Z Flat" was quite the
outstanding composition of the group
with it's faultless arpeggios and runs.
As an encore number, in response to
enthusiastic applause, Nine. Samaron
played the "Nocturne in f Sharp Ma
jor," by Chopin, which has become
Inevitably associated with Paderew-
ski in the minds of music-loving
groups. Madame's interpretation and
phrasing differed quite perceptibly
from the Polish masters
The opening group of the second
4, heN u mi
Chopin Sonata in Flat Minor"
Nine. Samaroff does not read her Cho-
pin in quite as Colorful manner as
some of the other piano masters. yet
the entire sonata was full OF interest
in the original way in which she read
meanings into the four movements.
OF the entire composition the first
movement, grave, doppio movlmento,
was the least attractive The scherzo
movement was unusually vivid; the
beautiful marche funebre was fault
lessly played. and the presto finale
was inspiring in its original treat
ment.
The last group was undoubtedly the
best of all. Nine. Samaroff was, ad-
mittedly, filled with the spirit for
playing, and this group proved an ad-
mirable climax to her program. The
first number. Rachmaninoff's Prelude
in G Minor" was played so that 1t
stood favorable comparison with its
Interpretation by the composer him
self; the two Debussy numbers, La
Cathedrale Engloutie" and "Danse,"
were ideally suited TO madame'S par
ticular style of playing. and Cyril
Scott's Lotus Land" was given all
the exotic charm that madame her
self said the composer must have had
in mind as IAN exotic bit of the Brit
ish empire" BY far the most popular
number on the entire program was
the Hutcheson arrangement for the
piano of Wagner's superb ride of
the Valkyries." Nine. Samaroff is
noted for her playing of this particu-
lar composition, much as Geraldine
Farrar is noted for her singing of la
Habanera-" and other great artists
for individual compositions which
they have made their own. This num-
ber was on madame's program "by re-
quest" and her playing of it aroused
a storm of applause. She followed 1t
with two unusually well selected en-
core numbers, Moskowski's Sparks"
and BeethoVen's Turkish March,"
from THE Ruins of Athens"
IT. rnId