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The Campus Mirror
Negro Tenor at S pel man
(('ontinued from page 1 )
composed Bambara, Rhapsodic Afri-
cainc, for orchestra, including some native
African instruments, particularly tin* Han
yi, which is made from certain gourds and
small hones of the boa constrictor. AI.
Sabnneyeff in the French press wrote:
<l ln the Rhapsodic his inspiration is
based upon a specific African scale, the
music of which is very picturesque and
full of syncopated rhythms, offering us a
livilli'- tableau of the life of the race of
the composer and expressing a great di
versity of musical emotions, exotic, sincere,
often naive, and always changing, passing
from a moving lyricism to an organism
ferocious and savage."
In order to use the Rhapsodie in his re
citals, Air. Lawrence arranged it for two
pianos, and it was one of the numbers on
his program. This arrangement was list'd
in his concert at the Repertory Theatre in
Boston, and the Boston Herald said: “Air.
Lawrence's African Rhapsodie was an
agreeable surprise to those, and I suspect
they were many, who dreaded some form
of artistic blues. No guess could have been
wider of the mark. This music was re
strained, well-knit, and never charged with
exotic emotion. Sabaneyeff finds it full
of syncopated rhythms, but the syncopa
tion was almost classic and certainly no
wilder than Schumann’s excursions in this
field. ”
Continuing his efforts toward creating
and encouraging a Negro musical style, Air.
Lawrence, in cooperation with Harrison
Kerr of New York City, has organized an
orchestra in Harlem. While they will work
on many kinds of music, they plan to con
centrate particularly on original composi
tions by Negroes and arrangements of Ne
gro folk songs.
Air. Lawrence’s performance consisted of
five groups, each of which he interpreted
and mastered in a superior manner.
The second part, a group of French and
Italian folk songs, added much to the credit
of the artist because of the keen, fine man
ner in which his enunciation paralleled his
singing. The group included 0 ma Tendre
Musette, Manette, and Jeune Filette, by
Wekerlin, and II Mazetto (Italian Folk
Song) by Sadero.
Bambara (Raphsodie Africaine), a two
piano composition of Air. Lawrence’s, was
played by the composer and Air. Brown.
This Raphsodie is based on Bambara, an
African dance, a painting of which was in
cluded in a folio of fifty African paintings
which Air. Lawrence brought from Africa.
This composition was rendered with a tech
nique comparable to the reputation which
both artists have won.
The last group consisted of Negro folk
songs and melodies and marked the high
point of the concert. Air. Lawrence did what
is expected of a true artist—he expressed the
real Negro sentiment in these compositions.
The enthusiastic applause of the audience
warranted his singing, a second time, Water
Mrs. Dent’s Recital,
A Rare Treat
(>n .Monday evening, January .51, Airs.
■Jessie Covington Dent thrilled Atlanta mu
sic lovers with the piano recital which she
gave in Howe .Memorial Hall; the perform
ance was one of foremost rank, displaying
technical facility, clarity of tone and sym
pathy ic understanding.
The Beethoven Sonata, Opus 78, and the
Mozart Pastoral Variee were the first num
bers on the program and were played with
much feeling for the classic design.
The Chopin group represented the high
est point of Airs. Dent’s program. She in
terpreted with excellent clearness of tone
and delicacy of touch in each of these
compositions. This group included three of
the best known Etudes—Etude in E Major,
Revolutionary Etude and Etude on Black
Keys, also the Nocturne in C Minor and
Scherzo in B Minor.
The rendition of the Alodern Group was
distinguished by delicate tone coloring and
by display of flawless technique; the art
ist obtained splendid effects by her use of
the pedal.
Liszt’s Concert Etude in I) Flat, known
as TJn Sospiro, was no less inspiring than
the preceding numbers.
Ernest Hutchinson's transcription of
AY agner’s Rule of the Valkyries, which
was played in a thrilling manner brought
the program to a close.
Airs. Dent responded to the prolonged
applause of the audience with Kreisler’s
Caprice Vennois and Ravel’s Bolero.
PROGRAM
Group 1
Sonata, Op. 78, Beethoven, Allegro, ma
non troppo, Allegro assai; Pastorale Variee,
Alozart. Group 2
Etude in E Major, Chopin; Revolutionary
Etude, Chopin; Etude on Black Keys, Cho
pin; Nocturne in C Minor, Chopin; Scherzo
in B Minor, Chopin.
Group 3
Jeux d’ Eau, Ravel; Naiads at the Spring,
Paul Juon, Lullaby, Brahms-Grainger; Rit
ual Fire Dance, De Falla.
Group 4
Etude in D flat, “Un Sospiro”, Liszt;
The Ride of the Valkyries, Wagner-Hutche-
son.
Everyone appreciated Airs. Dent’s expla
nation of the numbers which were highly
beneficial and interesting to the audience.
Following the recital Airs. Dent was given
a reception by the Sigma Delta Theta Soror
ity, of which she is a member. Members of
the Spelman-Morehouse Glee Club were in
vited to attend.
Boy, arranged by Avery Robinson, which
he rendered in his unusual, individual man
ner and which merited all the praise that
it received. At the end of the program,
when the audience went into thunderous ap
plause of appreciation, Air. Lawrence sang
the Negro spiritual, Nobody Knows de
Trouble / See, which formed a fitting close
for the program.
Is This Education?
I can solve a quadratic equation, but I
cannot keep my bank balance straight.
I can read Goethe’s “Faust” in the origi
nal, hut 1 cannot ask for a piece of bread
in German.
I can name the kings of England since
the War of Roses, but I did not know the
qualifications of the candidates in the last
elect ion.
I know the economic theories of Alalthus
and Adam Smith, but I cannot live within
my income.
I can recognize the “leit-motif” of a
Vagner opera, but I cannot sing in tune.
I can explain the principles of hydraulics,
but I cannot fix a leak in the kitchen faucet.
I can read the plays of Aloliere in the
original, but I cannot order a meal in
French.
I have studied the psychology of James
and I itchener, but I cannot control inv own
temper.
I can conjugate Latin verbs, but I cannot
write legibly.
1 can recite hundreds of lines of Shakes
peare, but I do not know the 1 Declaration
of Independence, Lincoln’s Gettysburg Ad
dress, or the twenty-third Psalm.— (Berna-
dine Freeman, in Journal of National Edu
cation Association)—Technique.
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