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4 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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