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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