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Page Fifty-four
THE MAROON TIGER
ly the path of Occidental influence. The Glee
Club was the best example, and the Quartet,
which is (I should say) an organization that by
all means should retain its identity after leav
ing school, because it is too good to be dissolved.
Ensemble, the Club sang “In the Time of Ros
es,” and “Coming Home,” and then Schumann’s
great song “Two Grenadiers,” and they landed
with the last one. The bounding spirit of the
old Marseillaise, in the closing stanzas of the old
song, struck a sudden spark in the singers that
kindled fire in the audience; they sang with a
superb dash and abandon, and I cannot recall a
better presentation of this grand old chorus.
Levi Terrell and Howard Branch, tenor and
baritone, both gave their solos acceptably, but
it was in the quartet that they shone, and in the
final number where Howard Branch led a truly
remarkable version of “The Road to Mandalay.”
After all, it comes down to this. Careful train
ing and a natural bent for music, plus expert di
rection, accounted for admirable offerings of the
so-called refined music of our pet composers. But
in that direction the students of Morehouse
were only the unit of a thousand others. When
they came to their own numbers—notably an
exquisite rendering of “Lindy Lou”—they were
unapproachable. They could play and sing the
music of the Occident; but many others can do
that too. In their own realm, they were beyond
compare.
Now no one in the world (in my humble opin
ion) can sing “Mandalay” with Reinald Warren-
rath, but, but Branch, with the support of the
Glee Club and the Orchestra, gave what was to
me a perfectly new presentation of Speaks’
great bit of work, and I’d like to hear it exactly
as given once a week the rest of my life.
The Morehouse concert was a notable event,
and the director is to be complimented sincerly
on his program and its presentation.
The MAROON TIGER staff is still hoping that
the Alumni will continue to send in subscriptions.
Carl Diton Appears In Recital
J. H. Wheeler, ’29
On Sunday afternoon, January 23rd, Carl Di
ton, baritone and pianist, appeared before a large
and very appreciative audience in Sale Hall Chap
el. Mr. Diton lived up to every bit of his reputa
tion of one of America’s finest musicians. As a
singer, he is the expression of a powerful soul—
As a pianist, he shows even more of the gigantic
force of his inner self. Besides this his technique
is of the smooth and flawless type, which conceals
all effort in execution; and certainly, the lack of
visible effort is the key to true artistic production
of any sort.
The first half of his program consisted of bari
tone numbers. There were two groups of them, the
second of which was made of Negro songs ar
ranged by Negro composers. In the first group,
the numbers, “Remember,” by Ireland; and “In
the Silence of the Night,” by Rachmaninoff, were
exceedingly well done. The latter number was ex
ceedingly impressionistic and Mr. Diton succeed
ed remarkably well in creating an atmosphere in
keeping with the idea of the song. In the second
group, “Somebody’s Knocking at Your Door,” by
Dett, was the best received number. He did this
in true Negro style, yet with a remarkable amount
of voice control. He also sang his arrangement of
“Swing Low, Sweet Chariot,” and played his own
accompaniment to it.
The rest of the program: a Chopin group and
the “Overture of Tannhauser,” Wagner-Lizt, was
played on the piano. The Nocturne in F Sharp Ma
jor by Chopin was indicative of the technical
smoothness and the tone perfection with which
Mr. Diton plays, while the Polonnaise in A Flat
Major brought out the fiery, yet technically clear
characteristics of his playing. Probably the best
and most pleasing number was the Tannhauser
Overture. It was mountainous in its power as it
was developed from the solemn “Pilgrim’s Chor
us” to the climax entering into the “Hymn to Ve
nus.” He played this famous overture as only a
great musician who understands Wagner, can play
it. Mr. Diton is indeed a great musician. He plays
with a masculine power which comes from the
depths of his soul.
The recital was in the interest of the Butler
Street “Y”. Prof. Kemper Harreld played the
piano accompaniment for Mr. Diton.
Lift;
Long have I stood upon this shore
Of Time’s stream that flows evermore,
To where?
If I have worked, if I have played,
If seeking lust afar I’ve strayed,
It matters not
For such is life:
Flowers, a few days of sunshine and laughter;
Morning and eve, then what after?
—GRADY FARLEY, ’29