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Miss Hempel's Interpretation of Folk Songs Thrills Audience--Prolonged Applause Marks Joint Concert


The following review of the joint concert given last night by the University Glee Club and Miss Frieda Hempel was written especially for the Crimson by a former student who is now actively engaged in professional musical criticism.

That the University Glee Club is right in maintaining its high musical standard in spite of what alumni Babbitts may say was again proved by the large and appreciative audience which greeted its appearance in Symphony Hall with Miss Frieda Hempel as soloist last night.

Although the club was not as fortunate in its program as in the preceding concerts it unquestionably did the best singing of the season. The tenor choir seemed more robust than at previous hearings this was especially evident in "Out of he Depth I Cry to Thee" by Bach.

At the beginning of the second group be tenors did some excellent singing it he early English numbers by Thomas Weeks and Thomas Morley. The Gusta lolst arrangements of three Hindu chorines were as dull as the other work a Holst which we have heard. The send of these however, was sung with excellent tone and would have been shoutedly a less experienced group. A worst be said for W. B. Wood's excellent work in the third of these hymns.

A highly impressive and satisfactory rendering of "Mother of Moscow" by Tchesnokov, a Gretry number from "Les Deux Avares," and a chorale from Handel's "Samson" brought the concert to a close.

Miss Hempel sang two groups. The first consisted of Lieder by Marx, Richard Strauss, and Hugo Wolf. These numbers tended toward the humorous, and while they were sung with charm it was in the second group that Miss Hempel again proved herself the sterling artist she is. This began with the Grand Aria from "Dinorah" in which the demented heroine chases her shadow vocally and competes with a flute. Miss Hempel easily won the competition. The chromatic octave which she ascended and descended twice in one breath was a noteworthy feat. The pathetic "Schwesterlein" of Brahms, the rollicking humour of the "Lauterbach," and the uplifting serenity of the Joyous Easter Hymn brought the evening to its climax. Needless to say Miss Hempel was applauded to the echo.

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