Evening Star Newspaper, July 26, 1925, Page 48

AMUSEMENTS. MUSIC By Helen Fetter. NGLISH opera and opera in English are two slogans on gay ban- ners that are unfalteringly waved aloft both in England and Amer- ica in spite of apparently lukewarm interest on the part of the people at large and the glowing welcome given on both sides of the Atlantic to Italian, German and even French opera, in foreign tongues, v by foreign singers. ewest effort made for native opera in England was inaugurated with the production of three operas by British composers, in English, in ed Vaughan Williams’ “Hugh, the Drover,” and two | Gustay Holst, “The Perfect Fool,” and, more recently, “At the Head” Of these, the last mentioned, a musical setting for two epi- sce from William Shakespeare’s “Henry the Fourth” (scene 2, ct 11, part 1, and scene 4, act II, part 2), seems to be a unique attempt at a erization of that great poet’s delightiully comic individual, The work is described as containing no less than 38 folk songs, with Mr. Holst’s own original melodies closely ned to harmonize in type. To quote an interesting opinion of Mr. ch, given in a letter from London to the New York Times: is obvious, of course, that such an overlaying of traditional tunes cespeare’s prose does not make it an ‘opera’ or a ‘music drama that has hitherto been recognized as belonging to their Holst unquestionably knows this as well as anybody else quite undramat * * * Only the very fewest musicians speare in the face and say that they have dc anything 1 when they have attempted to make operas ‘_«ml music yis work. Is there any other composer besides Verdi, or any tt besides Boito, who has really dealt with Shakespeare have attempted to find something that music can ex that music can heighten. Of this there is nothing in Head * * ] am free to say that in the ‘Boar’s Head inderstood a very much larger proportion of the text than r * % * It was works Boar usical charact Falstaff. worth hey At 3 * the r done in any opera before, English or other nd e : taught a arned in England. I s anslation, followed ‘At the Boar's Head’ in a double bil o said that the grotesque little comedy was more enjoyable the Metropolitan Opera House in the original Italian. ate surroundings, the clear English enunciation, the good could not help thinking, than some that was heard in all contributed to this result. _ - ! comment upon Mr. Holst's attempt to combine the sim- 1 have ightiul art now Puccin’s ‘Gianni Schicei,’ 1 folk tunes and the humanly complex characterization | Shakespeare's genial Sir John in an “opera” was voiced by Eric an engaging article entitled “The Lessons of an English Opera red in an issue of the Chesterian, in which he remarked: “Gustav Holst's ‘At the Boar's Head, both in its merits .n:dln: failures, nds toward the restoration to their rightful place of the old, detached peratic number and its consort, ‘the vocal ensemble.” It is impossible impression that whenever the music in this little opera tself into a formal movement and draws the voices together erted singing it is wholly successful, but that its interest lags sitory passages. Music to Shakespeare’s text is superfiuous. g to a work of art that is already complete can only result ) neediess duplication and at the worst in redundant ornamenta- rehandling of a dramatist’s work for the purpose of opera is f n than a musical treatment of the original, of a ling the h one hand while plucking it to pieces with to eseape i duri g which the oth w ¢ a reading of these particular passages from Mr. Shakespeare’s for refreshing the memory does not make one fecl that this nparison is as apt as an allusion to some more sturdy, virile ve proved, there would seem to be considerable ground for thought to take seed. * % Kk k AIKHOSRU SORABJI, a Hindu musician in London, who is said to be of some extraordinary music, has relieved his mind some propaganda for the piano concerto in the latest issue of Musical ws and Herald. In championing this cause Mr. Sorabji says: “For a considerable period, what may roughly be called the Wagner- d, the piano concerto was in disfavor with leading com- virtuoso pianist of the concerto sharing in the obloquy to the virtuoso singer of the ‘fioritura’ type. Speaking from one’s own personal point of view, I cannot understand how composers imagination and keen sensibility can resist the attraction of the (as t scems to me) almost limitless possibilities of the combination of the modern piano and the modern orchestra, and it seems to me, from the arowing number of modern piano concertos, that they are not resisting it any longer. A T N Strauss peri posers—the meted out as I am aware, Delius was the first great cotemporary master who pointed the way to a revival of the piano concerto. _His work its original form, for this combination, dated from 1877. When <ay this I shall probably be reminded that the concertos of Saint- Saens almost all antedate his. = This is, of course, true;sbut Saimt-Saens not a great cotemporary, or a great master of any sort; and his piano concertos are musically worthless and entirely negligible. The next work in point of time is, I think, the Busoni concerto work is not only one of the greatest piano concertos of modern times, but one of the greatest ever written.” i § There may be many who agree with Mr. Sorabji in his opinion of Mr. Saint-Saens’ piano concertos. To me, the playing of his “Fourth Concerto in C Minor” last March, as interpreted b_v.f\ltred Cortot and the Philadelphia Symphony Orchestra, was a beautiful rendition of a cally marvelous work. HAT e * %k Xk X music is an art of Pollyanna-like disposition is the theme of an article by Eva Mary Grew in Musical Opinion (London). gues her case largely from the indirect point of view, proving, more sic is not pessimistic. Says this writer he world makes of its pessimists and optimists is revealed s of art that endure longest. This is the testimony of history values; and the truth applies particularly to music, nusic is the supreme art, to the condition of which other arts ng. Music will not act as an incubator to keep is, indeed, antagonistic; and so it is the sphere in pessimism soonest dies, decaying almost within a generation. rism, we can say for the moment, is an intellectual state. In the ofounder issue of things, the soul cannot be pessimistic. And it is ause music is super-intellectual that such a negative quality or state ust either immediately perish or the art become abortive. The lives of the great icians, more than of any other artists, prove that optimism the gre tive to work. There is, indeed, no such quality as facile optimism. e optimist musician is, I have no doubt, the hardest ing of all the types of humanity; and it is by him and his fellows gs are done.” wonders if the optimistic value of music could not be greatly by the cultivation of a happier frame of mind in the average anticipating listening to a symphony concert or an opera. Of some excuse for pessimism when anticipating of certain modernists and “blues” of the jazz fantl 1 alive, bu are con aspi pr i rpetrations * ok k ok ,rk of Roger Quilter, whose songs are welcome on any concert is vividly limned by Scott Godard in a recent issue of the Mr. Godard says: silter is the last reputable upholder of the best traditions 1 drawing room songs. In his songs can be found all that of life which soothes and never disturbs. Mingled sation of uninterrupted security there is a comfortable sad- Is the hearers into a state of decorously maudlin suscep- from tears, giving them an ever-deepening feeling of ness for the walk in life in which their lot has been so kindly il these profound emotions are expressed with a brilliance and s which would deprive any words but the most banal of their Roger Quilter is the foremost living example of the singer's For the fact of his existence singers should be extremely at Quilter’s fame should be founded upon such songs as now 3low, Thou Winter Wind.' ‘Weep You No More, Sad ‘Love’s Philosophy’ and ‘Now Sleeps the Crimson Petal'—is Charming and effective as these songs are, there exist 1d better that get less attention from those who enjoy t mentioned and to whom these others should appeal. . There vet adequate, arrangement of the seventeenth century song, Mountains and Over the Waves,’ and of Roger Quilter's origi- philosophy composer. nwarrantable the the ‘Over th ple. nals there I Change That Note,’ and settings of the four Ernest Dowson poems, the tirst and last of which come close to really personal expressiveness. All these have a great charm of melodiousness and of dainty workmanship by reason of which they should be allowed to rank as high as the popular favorites.” THERE “Orie not been cor dk % &k d few musicians who have heard Henry Eichheim's delightful pletely charmed by this delicate music, fragrant as it is with e subtle poignancies of rhythms and melodies of the Far East. Music lovers of Washington have not only heard the work interpreted by the Philadelphia Symphony Orchestra, under Mr. Stokowski's guidance, but also enjoyed the unique pleasure of hearing an excellent chamber music cusemble play the “Impressions” under the direction of the composer, at one of Mrs. Frederic S. Coolidge's concerts here two years ago. also be a feature of tt September. These admirers of Mr. Eichheim's work may, perhaps, be interested to know that the composer, who is an American, started his musical career as a violinist. In 1890 he joined the Boston Symphony Orchestra as one of the first violinists and was a member for 22 vears. " At the end of that time he left to devote all his time to composition. teaching and photography. He was conductor of the Winchester Symphony Orchestra of Massachusetts, too. It was not until 1915 that he visited the Far East for the first time. Four years later he made a more extensive oriental tour, giving concerts and studying the native music. . Just recently, according to a “personal paragraph” concerning Mr. Eichheim in the London Musical News and Herald; “his ballet has had enormous success in_ Paris under the baton of Koussevitsky.” Mr. In‘hhcn;: \I \\x[wrl«i; also mch:ltlc a symphonic poem for orchiestra, “The Story of the Bell.” suggested by a story by Laicadio Hearn, and “M y Mosaie” writien {for aamall orchestray S y an couraging experience, implying high praise of the vocal | {izetti) | Vienna This mighty | | the the song to Rochester’s words and settings of “Fain Would | | the old New tal Impressions”—probably his best known work—who have | The work | tell, the . he international music festival in Venice early ' cident in the hectic life of a motion | points and secreted himself in a gully, THE SUNDAY TH? following programs to be played by the United Statas Marine Band tomorrow The other concerts for the week are: Wednesday, Capitol; Thursday, Sylvan Theater; Friday, St. Elizabeth's Hos- pital; Saturd: van Theater. _ At the Marine barracks tomorrow at 5 p.m. the band will play: March, “Em- | beror Frederick™ (Friedman); overture, “Pique Dame” (Suppe); Habanera, “Charme d'Espagne” (Mezzacapo); sa cphone quartet, “Allegro de Concert” (Singelee), Musicians F. Wiblitzhauser, A. Pfleger, Gi. Bies and R. Phipps; music de 'ballet, “Pantomime” (La- come); waltz, “Swing Song” (Holland- er): Galope de Concert, “The Ride of the Hussars™ (Santelmann); Marines' lxv\mn. e Halls of Montezuma'; “The Star Spangled Banner.” At Chevy Chase Circle, 7:30 pm., a section of the United States Marine Band will give the program: March, “GGeneral Heywood"™ (Santelmann); overture “Jolly Robber (Suppe); acteristic, “Cinderella’s Bridal Procession” (Dickey); cornet solo, “Ser- enade” (Schubert), Principal Musician Arthur S. Witcomb: excerpts from Robin Hood” (de Koven); waltz, “My Queen” (Coote); “Reminiscences of Scotland” (Godfrey), he Star pangled Bunner.” Army Band Concerts. HE Army Band, Capt. R. G. Sher- man, commanding. and directed by Capt. W. J. Stannard, will give five concerts during the week Tomorrow the band will pl t Iowa Circle, ”'IIHI’!N‘HIIl and P streets northwest at {730 pm Tuesday will find the Army Band at Walter Reed General Hospital. This concert will comw nce at 6:30 p.m. and will include overture “Mill- tary by Mendelssohn, and “Laend. ler f flute T clarinet; “Dreamy Momer performed by Master Sergts. A. Lutekewitz and L. Arnold Also the grand selection “The Girl of the Golden West"” (Puccini). Wednesday an hour and a half will be devoted to broadcasting from Sta. tion WCAP and assoclated companies, The concert wiil be broadcast direct from the auditorium, Washington Bar- racks, and will feature a selection of the latest numbers written by Wil Pi mn, well known to Washing- ans through his connection with Station WCAP. Thursday an attractive program has bee arranged for Montrose Park, hirti ' and R streets northwest, to begin 7:30 p. ymencing at 6:50 p.m., the lar’ post concert will be given at Washington Barrack Navy Band (?ox;c;rts. HE United States Navy Band, Lieut. Charles Benter, U. S. N., director, will give a concert tomorrow | at the Capitol; another Tuesday eve ning at 7:30 at Logan Par Anacostia, and a third program Wednesday at the navy yard bandstand at 7 p.m The two latter will be given in detail in_the daily issue of The Star The program at 5 p.m. tomorrow at Capitol_will March, “Fafrest of the Fair” (Sousa), overture, “Mignon" (Thomas), cornet solo “In- flamatus,” from “Stabat Mater” (Ros- sini). G. De Giorgio, bandmaster, U. §. N “Andante Cantabile” (Tschaiko sky), from “Symphony in E Minor, No op. 64; grand scenes from the ‘Lucia de Lammermoor” (Don humoresque, “Coming Through Rye” (Bellstedt); valse, “Girls of (Ziehrer); excerpts from “The " (Herbert), march, Washington Times” (Benter);| “The Star Spangled Banner.” oper the Fortune “The finale, Metro-Goldwyn Specials. WHEN Metro-Goldwyn begins its official year, in August, it will have 52 pictures to pass around. Ten or twelve of these will be regarded )fi\i the most important prol 3en Hur,” which has vears in the making and | cost more than an T attempted wing closely two t is believed in point of elabo and costliness is “The Merry a picturization of the gay Viennese operetta, the rage of a gen ation ago, done by Erich von Stro. heim, and featuring Mae Murray and John C rert. Another pictur for which bright hopes are held is Lau- rence Stalling’s ““The Big Parade,” and still others are “Mare Nostrum,” which Rex Ingram is making in Paris, and “The Unholy Three.” a | frank thriller, with Lon Chaney and Mae Busch This “special” Hardelys the Sabatini’s story list _also Magnificent “The Tower of Lies," wiich Victor "Seastrom is directing; *La Boheme,” which will be the first rring vehicle for Liliian Gis of Old Broadway, ” “The Torrent includes R: Does the Goose Hang High? ANY claim that the expression “the goose hangs high” origl nally was “the goose honks high,” and was meant to indicate that it was fair weather, due to the honking cry of the wild geese as they fly to north in the Spring and back to the south in the Fall. Others have as- serted that it is merely a contraction of the expression, “Everything is lovely when the goose honks high,” and that the commonly used expres- fon of today is merely a vagary of old English and not to be counte- nanced One of the interesting explanations comes from an Englishman, who claims the expression originated in England in the sixteenth century. “When the mily and relatives would gather for a fete day,” he writes, “and imbibed a little too free- Iy, a dead goose was hung by its feet from the lmb of a tree. The head and neck were greased. Then 111 the young bloods would ride their horses under the tree at a full gal- lop, and the one who succeeded in wrenching the goose from its noose received it as a reward for his skill. The signal for the start of the horses was ‘The goose hangs high.’ " Other writers claimed the sion as used in the title of is essentially correct. These use for their argument the New England cus- tom of hanging a plucked goose in arbor, so that it will be tender when the day of the feast arrives. The appearance of the curing fowl in the arbor was always acclaimed by the children with “The goose hangs expres- the play Marine Band Concerts. l { position STAR, WASHINGTON, D05 JULY YOUNG WASHINGTONIAN PLAYS IN ITALY SHINGTON has not, as yet, pianists who have shown 4 interest in the work of the moderniats. One, however, who seems especially gifted in interpreting the works of such composers as Poulanc, Milhaud and Malipiero is Katharine McNeal, a native Washingtonian who has studied the special technique for playing the modern works under the guidance of Robert Schmitz. Miss McNeal s abroad this Summer, working with many of the modern composers for securing the best inter- pretations of thelr works and, fnel- dentally. enjoying the life over there very much. A letter received from her at Florence, Italy, incloses a program of modern’ Itallan works that she played recently at a tea given for her by Horace Johnson, the American com- poser, also in Italy at this time. McNeal plaved “'La Pisanella,” by Piz zetti da Parma; “Prelude,” by Ottorino Respighi; “Fantasmi.” by G. Fr. Mali- piero; “Le Stagioni” and xtrot Tragico,” by Mario Castelnuovo- Tedesco, and two piano compositions HE Musical Fund Society, Philadel phia’s oldest musical organization, has decided to offer $10,000 in prizes for the best three compositions of chamber music—{irst prize, $5,000; sec- ond prize, $3,000; third prize, $2,000 The contest is limited to composi- tions of chamber music for from three to six instruments. The piano may be used as ope of the instruments, but compositions including vocal parts will not be considered. Any composer may than one composition and may be awarded more than one prize. One unique feature of the competition is that any composer may submit com. for first prize only: that is if he elects to do this and the compo sition be not awarded the principal prize, it may be withdrawn from con- ideration for the second or third prizes stated when the composition or com- positions are submitted. Ample time will be allowed to com- posers to prepare their works for this submit more high,” and was a harbinger of a feast that included not only goose, but all the frills and- gustatory ornaments of England table. The National Theater Players prob- ably have renewed this profitless dis- cussion in announcing their next week's attraction under the title originally given it, namely, “The Goose Hangs High.” Run Over by 4,000 Horses. AVING more than 4,000 wild horses run over you and live to tell the tale may be cited as just an picture cameraman. The man who took the chance was Bert Glennon, and the incident oc- curred during the filming of “Wild Horse Mesa,” Zane Grey's latest story. The locale was Red Lake, Ariz., in the blelands where the wild Horses roam. Six cameras shot the stampede, which is the big climax of the picture, Glennon stationed his five chief cam- eramen and assistants at objective hoarding it over so as to leave only enough open space for the lens of the mera to project. The entire herd passed over him, as the picture will show. Glennon claimed he crawled out of the gully the happi- est 1nan in seven countios, 4 TTHERE are many admirers of Ja- scha Heifetz, the remarkably tal- ented young violinist, in Washington. Several thousand Washingtonians heard him in the first professional re- cital given in the Washington Audi- torium last Spring, the violinist's last appearance here for two vears, as he is to leave, after a_month’s vacation at his home, at Narragansett Pier, R. I, for an extensive tour that will include practically every country in the world. The above picture, just taken at his Rhode Island home, shows Mr. Hei- fetz with his mother and two sisters. They are, left to right, Mrs. H. F. Stone, jr.; Pauline Heifetz, Mrs. R. Heifetz, Jascha's mother, and Jascha, himself. This young man Jascha Heifetz, who has recently become an American Miss | This fact, however, must be | KATHARINE McNEAL. by Mr.: Johnson, dedicated “Piazza “Santo Spirito” Canina, Another * program of interesting works by both modern and classical composers was played by Helen Ganz, |2 pupll of Miss McXeal's, at the home |of Mrs. I. Hoagg in Florence. Al- | though Miss Ganz is originally from New York, she spent last year in Washington, continuing her studies | under Miss McNeal. Miss Ganz played | group of Brahms, one of works by { Chopin and a more modern group, i {cluding “May Night,” by Palmgren; Seguidilla,” by Albeniz; “Prelude, | by Debussy apanese Etude,” by Pol- |dini. She also plaved the “Tenth Rhapsody,” by Liszt, as her closing | number. - Miss Ganz is preparing for a | formal recital in Washington to be given early next season. | * Miss McNeal, who goes on to Paris shortly, will return to this country in | October, sailing from England the 3d | of that month. She is planning several |unique recitals for the season here | during the coming Winter. to her, and “Erta $10.000 for Chamber Music. | competition, as the contest will not close until December 31, 1927. Fur- { ther terms of the competition will be announced later. The object of this contest is to se- cure some really representative com positions in this greatly neglected field of musical art. In other words, it is done to induce the great composers of the world to give sufficient time and attention to the composition of cham ber music to make valuable contribu- tions to its literature. Every effort will be made to induce the greatest composers of today to enter this con- test. Since the death of Brahms, al- most 30 years ago, the contributions to the chamber music literature which show any signs of permanence or | more than usual excellence have been fewer than in any other form of the art. Norine Dahn, who is leaving Wash- | fngton shortly to join Roxie's Gang in New York, broadcast her own | composition, “Pama,” a novelette for | the piano, via WCAP early last week. citizen, was born in Vilna, Russia, only 24 years ago. He is a very quiet, poised individual to talk to and has as his prime hobby his two precious violing, one a Stradivarius of 1732; the other a Guaneros of 1742. It was the latter on which Mr. Heifets played in his last recital here. He says that he considers its tone warmer and more brilliant than that of the Stradivarius, which he describes as “silver in its quality.” Mr. Helfetz played, at this concert, for the first time through an amplifier and says he felt a bit lost as a soloist in 8o vast an auditorium. He did not feel the contact with his listeners in the farther part of the huge hall and considers a smaller house usually more satisfactory, hav- ing as it does a more intimate at- mosphere. He is a great advocate of evening concerts, 26, 1925—PART o . Musigraphs ULIA CULBRETH GRAY has just returned from the South, where she was appearing in a serles of Summer school recitals. She was in Washington for a few days and then left for Alfred, N. Y., where she gave a recital at Alfred University Wed- nesday evening. Her program In- cludes folk songs of the mountaineer folk and Indians of America, French and English folk songs of the eight- eenth century, and German lieder, with the usual Italian aria. Four changes of costume also are involved in this procedure. George Dixon Thompson, pianist, will sail on the Leviathan August 15 for Europe, where he will spend seven or eight months. Mr. Thompson will go directly to Vienna, which he will make his headquarters. He expects to see Emil Sauer and may study with him. He will also include the Salzburg Festival in a series of short trips soon after he has arrived abroad. Bess Davls_Schreiner sends word that she and Katharine Riggs, young Washington harpist, are _enjoying summering at Marblehead, Mass. Mrs. Ellen Sparrow sang as offer tory last Sunday “The Penitent,” by Beardsley Van de Water,” at the Northminster Presbyterian Church. Today. she and Mrs. Pippin will sing the duet, “Hark! Hark! My Soul,” by Harry Rowe Shelley. E. Mori, organ- ist, will accompany at the organ and play some solo selections. Kurt Hetzel, former conductor of the opera house of Munich, Germany, and well known already in Washing- ton as an able interpreter of Wag- nerian music and works by Richard Strauss on the plano, has just an nounced that he is opening Summer classes in his studio at the Burling ton Hotel for the coaching of ad- vanced students desiring operatic and concert interpretation and for young pianists. Elly Ney, pianist, who is at pres- ent touring Europe, will make a tour of America next Winter. Early in January she starts her season with an appearance in Bloomfield, N. J., and within a month will fulfill & group of engagements in Florida and an- other in Callfornia. In February she will_return to the East for concerts in Pennsylvania, while March will find her playing in the Middle West. These recitals include a number of appearances with the New York String _Quartet and an engagement with “the Cincinnati Symphony Or chestra at Indianapolis. Sl e Army School Concerts. A concert by the Army Music School at Walter Reed General Hospital, Fri- day, at 6:30, senior bandleader stu- dents conducting, will have as its rogram: “Hymn and Triumph,"” from Aida” (Verd). conducted by Sergt Henry Chura; overture, “Semiramide’ (Rossini); fox trot, “No Wonder’ (Davis): duet for flute and horn, “Sere- nade” (Titl), played by Musicians H. Stanley and R. Wickersham, conduct ed by Staff Sergt. Joseph Dressler caprice, “The Whistler and His Dog (Pryor); grand_selection from “Ernani” (Verdi). conducted by Staff Sergt. Juan Mellado: waltzes, “Thousand and One Nights” (Strauss): tarentella, “Fo rosetta” (Arditi), conducted by Pvt (First Class) Ernest B. Gentile: popular sclection, “Going Up” (Hirsch) fox trot, “Let It Rain, Let It Pour” (Don- aldson), march, “Lincoln Centennial” (Sanford), conducted by Sergt. Eugene J. Papi; “Star Spangled Banner. ' The Army Music School also will play a concert at Washington Bar- racks Tuesday at 6.50, senior band leader students conducting. These concerts are free to the public. Russian Prince for Pola. RUSSIAN prince, Youcca Trou- betzkoy. was chosen as Pola Negri's leading man in her Paramount picture, “Flower of the Night,” a col- orful dramatic tale of Mexico City, written especlally for her by Joseph | Hergesheimer. Prince Troubetzkoy is the son of Prince and Princess betzkoy and a nephew of the famous sculptor, Paul Troubetzkoy. By odd coincidence, the new leading man was born in Los Angeles some 20 vears ago, while his parents were making a trip around the world. He was edu cated at the Russian court, and when the red uprising occurred fled with his family to Nice. hero role in several French cinema productions, including “The Hawk.” a | French Paramount production. e is said to be of fine appearance and to give promise of exceptional dramatic ability. Forgo_‘t She Was I:ving. FRITZI BRUNETTE, who has re- turned to motion- pictures in “The Pace That Thrills,” won her spurs in the moving picture fleld when she was offered a chance in the Keith and Or- pheum circuits as a headliner. Miss Brunette accepted and started rehearsals. The act was ready. She was billed as the feature attraction in an Orpheum house in the Middle West as a starter. The afternoon of her first performance arrived and the curtain went up with Fritzi and her leading man on the stage. But Fritzi was stage-struck. could not think of a word. went blank. tou'll have to pardon me,” she re- marked to her leading man, and the curtain was rung down. “The man- ager was nice and sald nothing, and that night I was all right and went on for two and a half years on Orpheum and Keith circuits,” added Fritzi. “But that is what happened to me." Luck and Mary Astor. FEW years ago Mary Astor was struggling _through a dramatic school in New York, hoping for fame on the stage or screen, as hundreds of girls do. Recently Mary was again in New York, this time, however, to see the premier of “Don Q, Son of Zorro," Douglas Fairbanks’ plcture, in which she played the leading role. The dream of her schooldays had come true. Although she is beautiful and tal- ented, Mary owes her big opportunity o luck. When Doug was casting ‘Don Q" he was seeking a leading lady, stately and fair. A friend hap pened to send Mary Astor's picture to E. J. Vallejo, Doug’s second camera. man. He showed the picture to Iair- banks. ‘That's the very girl we want,” said Doug, and Mary landed the role that hundreds had sought. - First National Plans. MONG the pictures to go into pro- duction at the First National Bast Coast Studios will be “The Savage,” by Ernest Pascal, in which Dorothy Mackaill and Lloyd Hughes are to be featured: “The Scarlet Saint,” from Gerald Beaumont's story, “The Lady Who Played Fi- dele,” with Mary Astor and Robert Frazer co-featured; “Men of Steel” big_production laid in the steel milis at Pittsburgh; “Pals First,” from the play by Lee Wilson Dodd; “Bed and Board” and “Atlantis,” the sequel to “The Lost World.” The three pictures which will be ready for distribution within the next two weeks, “The Half-Way Girl, featuring Dorris Kenyon and Lioyd Hughes; “The Pace That Thrills,” with Ben Lyon, and “The Knock- out,” with Milton Sills, are all de- scribed as red-blooded action stories. She Her mind Nicola Trou- | He has played the | AMUSEMENTS. Of extraordinary interest to all re- serve officers was the pronouncement made this week by Maj. Gen. Robert C. Davis, the Adjutant General of the Army, in which he made public the reorganization of reserve projects in corps ar to conform with Army Regulations 135-10. Not since the stamp of ap- proval which the War Department placed upon the promulgation of Army regulations governing the ad- ministration and operation of the Organized Re- serves has such widespread inter- est been evinced in reserve affairs. ‘Whenever two Washington reserve officers met this week they launched immediately into « spirited discussion as to what effect the reorganization would have on their particular units No Infantry or Cavalry group head- quarters (similar to Artillery group headquarters) will be formed, nor will an Infantry or Cavalry office for re serves be established at corps area headquarte: Either would merely increase the overhead for the Organ- ized Reserve activities, it is pointed out, and diminish the number of offi cers available for assignment to duty as regimental executives, which is considered the most important assign- ment for the development of the serve activities. In the accomplishment of the train ing and administration of nc divisional Infantry and Cavalry re serve units there are two syster which can be employed. The 1. The commanding officers of the p or activities of the Regula which these units are assigned mobilization dut may be mac spons for their training a tration. 2. These units may attached Infantry or Cavalr serve divisions for training and ad- ministration In th connection the War Department favors attachment to reserve divisions. The organization of a into reserve districts is not favored by the department, it being poi out by Gen. Davis that the district ing of corps areas for Organized Re- serve activities has been tried a jected. Recourse should b gnation of Regular Arn cers as executives and ac tives, as provided in paragraphs |73-a (1) and 7T4-c, Army Regulations 185-10. In commenting upon the desirab of the decentralization of O {Reserve headquarters Gen | statement pointed out that ing Army Regulations 135 sive efferts were made to frame t provisions so that the available funds and personnel might be used in a manner to accomplish the ilts in_the development | Organized Reserves. Every effort was made to aveid building up an over- {head which would reduce the poss | bility of gaining and maintaining con- {tact’ with the reserve officers d | the inactive duty training per lappears for this reason that cc |tration of Organized Reserve head- arters in a few localities rather | than decentralization by accomplish- ing a wider distribution is objection- | able. “The location of the Artillery group { headquarters,” the announcement | read, “was purposely left to the dis- | cretion of the corps area commande For the sake of contact with reserve officers it is desirable to avoid con- | centration of several reserve head quarters in the same locali area headquarters. From th point of view the location of the Artillery | group headquarters at corps area | headquarters jectionable. How- | ever, there are other circumstances to | be considered in connection with the location of these headquarters and therefore no instructions to the corps area commander in regard to the loca- {tion of the Artillery group headquar- ters are contemplated ; The following summary, containing the 11 outstanding points in the re- organization of reserve projects in the corps areas, is as follows (a) All reserve div gardless of branch, should be under the supervision and control of division headquarters. (b) An Artillery gre headquarters is authorized for non. divisional Field Artillery units, and Coast Artillery units in corps areas having no Coast Artillery district (c) The activities of different Organ- ized Reserve units allocated to same localities should be co-ordinated. (d) The War Department does not ap- prove of the heading up of the Infan- try and Cavalry Reserves under an Infantry or Cavalry group headqua: ters, nor does it approve of an Infan- try or Cavalry reserve office at corps area or department headquarters. (€) In the training and administration of non-divisional Infantry and Cavalry reserve units the War Department favors attachment to reserve divisions. (f) An increase in the corps area staffs to handle Organized Reserve affairs is not desired by the War Department. (g) The organization of corps areas by reserve districts is not favored by the War Department. (h) In the reorgani- zation of reserve projects at cOrps area headquarters the various staff divisions and branches should handle their appropriate part of the training and administration of the Organized Reserves just as they do in the case of the Regular Army. (i) The officer heretofore in charge of Organized Re- serve affairs of the corps area head- quarters should perform the duties of reserve liaison officer in all matters pertaining to reserve affairs and should function under the general su pervision of G-3. (j) The administra tion and training of special troops and trains of a reserve division should e under the supervision of officers de- tafled to division headquarters. (k) The decentralization of Organized Re- serve headquarters is favored by the Var Department. be d ncen- nal units, re Announcement was made this week at Organized Reserve headquarters of the following changes in the assign- ments of reserve officers residing in Washington and vicinity: First Lieut. Ernest J. Mudd, Quartermaster Re serve, assigned to motor repair sec tion No. 463, 3rd Corps: Second Lieut. , Coast Artillery Re- Capt. Le Roy and FFirst Lieuts. Harry C. Busser and Jesse H. Wilson, all Reserve officers, assigned to remount depot No. 41. 4th Army; First Lieut. Ernest W. Williams, Quarter- master Reserve, assigned to the 304th Motor Repair Battalion, 4th Army; and Second Lieut. James H. Robinson, Infantry Reserve, assigned to the 428th Infantry; Capts. Albert E. Landvoigt and Robert A. Ricketts, both Engineer Reserve, assigned to the 376th Engineers (general service), zone of communication; Second Lieut. Charles F. Silsby, Infantry Reserve, having moved to the 2d Corps Area, is relieved from assignment to the 80th Division; Second Lieut. David Friesel, Cavalry Reserve, assigned to the 62d Cavalry Division, and Second Lieut. John C. Rinck, Quartermaster Reserve (branch assignment group), having removed from the 80th Divi: sion area, is relieved from attachment to the 320th Infantry for instruction and training. The final tabulation of citizens’ mili- tary training camps’ procurement activities for the Third Corps area, announced this week, gives first honors to the District of Columbia ia Army to | greatest | g | 1t as corps | this competition per cént. Though corps area was 5,600 young men residing were accepted percentage of For the Distr |auota was 154 acceptances was of 204. Western Pennsy quota of 1,726, sent to camp, or 141 per Virginia with an autho: 816, from which Stat young men centage of vania, whose 604, secure 105.4 per vania, whose of 1,718 your ith a he guota in this co this t of for aini t of Celur the tota att For The cers (reserve), are federally recc cers the Natio; prescribed in Army regula 1 be made by the War upon the recommendati area commarn branches. Notif will be made by No assign reserve g ber of service ment of to any tions that all genera diction of residences | general under | station than under jur WalllDenie t Filmland Montmart atering 1eir followers plunge p Sennett a espec f the Ma the stag s The use of he fact b The Sills Wallop. OHN PHILIP vanked an a role ¢ | ture, th mear man” roles. ing a cauli to shame m KOLB ower” “The Knockou prizefighter’s experien ber camps of the Canad giant lumber camp b the prizefighter and is fina § is the pugilist, Kolb the | boss. Soldier of Fo OUSANDS of perso seen the riding a wh and carrving alon 1 Douglas Fairbanks in “Don Q" do n know that he is a soldier of fort of some dist His n W. P. O'C Born in as a cow rtune. TH a go annour ction. New Mexico, he began life her, became a Texas ranger, served Roosevelt one of the Ro | seas with the | received the « palm and the Meda most coveted decora army O'Grote also went to Tex Austen's rodeo, and has w ors in many ro MOTHER AND CHILDREN IN LONG WALK TO ROME Tramp, Nearly Penniless, From Morocco to Get Benediction for Holy Pilgrimage. nd ther re wit the Correspondence of the Associated Press ROME, Ju Thous: wvout Catholics have de Ve pilgrimages to R h come in the manner which the w truly connotes. howe | has ‘been completed by a Spanish woman livi with_her three children, are 7, 4 and 2 years | Senora Cruces left Morocco with he little brood on December 9, 1924, z they made practically the whole jou ney on foot. Th pesetas in their possession, | throughout the trip they had no ot [ means of support, except from the sal | of picture post cards showing their photograph. For the most part the: slept on the grass under the along the sand beaches, but ¢ ally they were taken in by k ple along their route They have received the special hol: year benediction from Pope Pius X1 whose stars ¢ sasior nd peo i e A v vat o r v Burlington Hotel _Main 8980_____ WASHINGTON CONSERVATORY' OF MUSIC 1408 N. H. Ave.. Adjoining 1 Dupont Circle Summer School Opened July 1 Start Now. Enter the Children Practice Rooma. Y earbook. . Main 7 BESSIE N. WILD Voice Culture. Plano and Harmony. Studio. 6824 5th st.. Takoma Phone_Adams 5549. MISS AMY CLEMENT LEAVITT PIANO, VOICE AND HAEMONY ‘oaching and_Accomp: 706 Eleventh Street N.W. SAXOPHON Piano, Tenor Banjo. Guitar, Drunis, etc. In 10 to 20 Lessons Rag, Jazz_and Popular Music a specialty. Come in. write or phone for booklet. Fros leseons it you buy instrument from us. CHRISTENSEN SCHOOL OF MUSIC, 1322 G St. N.W. Main 1278, || Walter T. Holt Studios TENOR BANJO, MANDOLIN, GUITAR, BANJO, HAWATIAN GUITAR AND UKULELE. 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