Evening star., 1923-01-19
Alexander SiIoti Recital.

Now and then a music reviewer,
with critical ears alert, falls SO undcr
the spell of a master performer that
tic torgots al and sits entranced. 1t
was so last night at the piano re-
citai Of Alexander Siloti, at the City
Club.
What of his technique. his poise
and 50 on? Bewitched by the magic
OF his artistry, who could sit calmly
and pass judgment upon them? One
only knew that when he started play
Ing the gates OF fairyland seemed to
be thrown open.
His rare Judgment in the building
of his program and his marvellous
ability to ever keep his themes prom
inent, or, at least. to keep them
sufficiently so to be easily followed
probably contributed as much as any
thing TO his success So often. in the
rush of notes in Bach numbers, the
theme is lost to all but the ear of
a Bach student ana the auditor is be
wildered by the seeming confusion.
This, however, was not the case with
Mr.. Siloti. and his opening group.
which consisted Of four numbers of
Bach, was better received than
group of Chopin played later in the
His first number, Fantasia in
Minor" was Bach in a rather lighter
mood and the fugue was easily fol-
lowed; the second, Clique in 3 Flat"
mad q beautiful theme, which was
played and then inverted and played
again, with a steady beat in the bass
holding the tempo at a lively pace;
the third Prelude to 'Cantata No. 90.
n D." was typically fast and furious
and yet never becoming in the least
jumbled or confusing to the listener:
the fourth, Organ Choral Prelude in
Z Minor" in very sharp contrast to
the preceding number, was very slow
and filled with exquisite harmony,
the quiet procession of the full chords
being restful and soothing
His second group, all of List, was
the feature Of his program, the well
known "St Francis walking on the
Waves" the first number. being per
hapS the best received. The powerful
roll of the waves. sounded first in the
bass, rising in tempo and volume until
unbelievaply realistic. The booming
and crashing still failed TO obscure
the steady beat representing the tread
Of the walker, ever dominant, yet
climax, III Penseroso." next, was
somber and progressed from the mid
die ranges downward into the bass.
4 note would be sounded and repeated
several times in a legato movement,
followed by a series of subdued
chords, some minor, some major and
some dominant seventhS. Lifting his
audience from the depressed mood ot
this number. Siioti PLAYED "Au hord
dune source" in which his touch
light as the dance of fairies. brought
forth the beautiful tinklinr sound at
q fountIitL with now and then -
deeper. fuller motto sounded. The iast
Of this group. "Ean"dIctinn dr. Di"u
dams Ia solitude is more familiar in
Jscldc's ,Li@a%tod." which WaGrcr
fraui,.y "liftadr from ftIS fathcr-jn-
law One could only sit exalted a~.
The bcaUtifu1 strains flowed forth in
Url,ro&ru sequence.
r'is third group, constructed of
Chopin ruHHerE, "NoctuTne in
1Itro~." "Etude + Minor No. 25.' and
"E@1Jads in \ Flat" as stated, suf-
tered in comparison with the List
group.
Ifje last group, a study in E ma jor
by Roger -Ducasse, a dainty. fairy
liz. e"mposton, the mournful "Kad-
di~~h" Of NJ. Ravel, a group of four
Tu+stan folk songs Legend About
tho Birds" Il Danced With a Mos
quito" a. humorous bit; Cradle
Song and Dance" played without
interruption, and Rubinstein's Les
= nka." a quick movement working
IN faster and faster TO A Wild, ahan-
doned climax. concluded tho program.
Mir. SiioG gave no encores, but was
called out repeatedly after each
ETOup. Tho reluctance Of his au-
Gnnce to let him go was A real
tribute to his wonderful arts stry.