Evening Star Newspaper, August 7, 1927, Page 50

BY - USIC critics of leading publi- cations in several instances seem to be bringing up for 4 discussion at this time the :subject of their own line of work, with comments broad and compre- “hensive on the onc hand, and narrow _and indignant on the other, irom in- dividuals who have never personally ; attempted such work. In this mu s cally arid month of August—musical 11y arid in Washington though buzz- 'ing with activity abroad and even elsewhere—it might prove interest- ing to sift out a few of the different phases of the question. * X ¥ % SYTHY do we applaud?” asks Lawrence Gilman, music critic | of the New York Herald-Tribur n | a recent Sunday article in that news- _paper. “Why, aiter listening to ‘the | baritone singing his sweet romanza’ . (he is more likely to be a tenor) the violins and the cornets, the oboe sand the beating drums, the men’s | chorus, the women's chorus—the specifications are Walt Whitman's hy, then. do we respond by a beat- ing together of palms or a shouting | lof gladsome shouts? Because, you| will_probably reply, we are polite, | or because we are genuinely stirred. {But it isn't really as simple as that, if | .the psychologists and the probing| ;aestheticians are to be believed. Mr. 1¥rank Howes, the shrewd Oxonian | jnvestigator, devotes an illuminating chapter to the subject of applause fin his admirable new book, ‘The Bor- sderlaad of Music and Psychology and his observations tempt a cita- | tion. *When an audience claps its hands | or breaks forth in joyful shouts over Mr. Gigli or Mr. Toscanini or Deems Taylor or the virtuoso in Mr. Whit- | man's band who plays his instrument | through his derby , it_is, says| Mr. Howes, obeying various im-| pulses which are not primarily con-| cerned with the desire to reward a erformer or to express delight. ‘Of | ;some half-dozen elements which may be distinguished in applause. M Howes adds prosaically, ‘the first the natural tendency to move the body after A period of mental ac- tivity. For you must know (and if you don’t, there are Mr. Howes and Aristotle and McDougall and Groce and James and Lange, and our old .iriends Freud and Jung, to explain 4t all to you in extended detail) you :must know that there is no purcly mental activity that has not some physical counterpart. Fundamentally, the human mind is a mechanism for doing things (conation, the wise men call it). The activity of listening is ‘a species of cognition divorced from conation. We venture to explain that it means simply that the process of listening to music impels you to bodily move- ment, and usually in the concert room this impulse is thwarted, espe- | cially if the music has stirred your] *emotions. Your applause is an ef-| fort to relieve this strain. ‘In artistic | ‘and intellectual pursuits, Mr. Howes | explains, ‘where the activity begins | »and ends in the mind, there is no ap- propriate action in which the cona- tion can issue. This absence of movement is felt by the mind as a vague uneasiness'—a sense of strain. ‘That is what happens as Mr. Gigli finishes ‘Cielo, ¢ mar, or Mr. Tos- canini brings the Ninth Symphony to a close. ‘The listeners might re- ilieve this uneasiness’ says Mr. Howes, 'by aimless movements, get- ting up from their seats, stretching their arms, yawning, even'—not all of which expedients would be con- venient and some of which might eyen be misunderstood.” r. Gilman enlarges on these state- ments and indicates that Mr. Howes in his book goes into other minor ,aspects of the phenomenon of ap- ,plause. Any one interested to ac- “icompany Mr. Howes into these de- tails will probably find his book vailable at the library. Sl NOTHER entirely foreign com- ment to those, made on the sub- ject of applause, especially as applied to music critics, appears in a clipping, not so recent, from the pages of the oston Transcript. It says, in part: | “The other evening I attended a concert in company with several {hundred others. Of that number per- ihaps two or three were professional icritics—that is, people who were learning their living at that peculiar jtrade, while there were doubtless a score or more amateurs present who |knew—or thought they knew—a vast jamount about music and, taking ,note of the professionals, adopted that attitude of superciliousness jmingled with tolerance which istamped them straightway as mem- fbers of the inuner circle. It is com- |paratively easy to pick out a critic (professional or amateur) at a con- cert, for, while the features of the ordinary human being in the au- dience present a variety of expre: sions ranging all the way from de- \piction of ecstatic transports to registration of frank ennui, save for sthe wooden immobility of the small ,hqy undergoing penance at his moth- jer's side, there is nothing on earth |approximating the rigid austerity of jcountenance which invariably marks lyour true critic. An occasional tight- jening of the lip muscles; a twitching 'oi the eyebrows; save for these ipurely physical manifestations, there jis no relaxation from this strained attitude of uncomfortable vigilance 'until the concert is at an end.” + These comments were not made /by one of “The Tribe of Critics and Music,” as the article is titled, but by a theatrical producer. _Other reasons which might be igiven for not applauding at a con- .cert might be: (1) The rare sensation of being so carried away by the beauty of the music and its perform- | ance that physical reaction seems sacrilege; (2) heing so bored by the lack of real artistry, or so tired after many previous concerts, apprecia- tion may be dulled and sincere phys- ical reaction impossible. o HE gentleman who writes torially for “Musical Ameri under the title of “Mephisto,” has re- cently enlivened his Summer columns with comments made by the initiated or by indigant music patrons on the subject of music critics. Mephisto takes opportunity in a recent issue 2o state as follows: “From time to time, I have had oc- edi - | ter |Olga S: | three-piano f HELEN FETTER. edge of music is m likely to fill the bill than the musician with some knowledge of writing, since all criticism, whether of music, the drama, painting or any other art, remains primarily a branch of litera- | ture, rather than a branch of the art | with which it deals. Admitting the | ephemeral character of criticism, the literature’ and ‘art’ have to be construed very liberally, but they do {apply loosely to newspaper and peri- jodical cnticism. _Musie: criticism, | whatever the special knowledge re- i quired, is in its essence a thing of ! the written word, not the printed or played note.” 2 Again, in the most recent issue of the same periodical, Mephisto, taking up again the cause of the music critic | as described above, in a column on *Mistakes of Critics,” says: Schumann, you will note, made istakes as a critic quite comparable to those of Hanslick (a Pragusmusic critic). The same could be said, 1 think, of Berlioz and other tamous creative and executive musicians who essayed criticism. This, it seems to me, rather knocks the pins from un- der those who argue that the trouble with criticism is that the critics are musical nobodics, and that things would be very different if musicians | and their music could really be judged by a jury of peers. What one of our young modernists, for instance, would really relish reading a review of his latest experiment in cacophony, written by Richard Wagner? And | would our singers be any more con- | | { tent with what was said about them if the reviews carried the by-lines of Nellie Melba, Marcella Sembrich and Geraldine Farrar? “Pianists, particularly, seem to think they do not geccive a square deal from the reviewers and some of them are forever challenging the critics to come up on the platiorm and do as well. Entirely aside from amarofi's adventures in_criti- 4 Olin Downes’ reply in the ding he shared with John Erskine and Ernest Uchs last sea- <on, I know not whether to snicker or shudder when I think what their feclings would besif one Vladimir de Pachmann were asked to sit in judg- ment upon them.” * k% % % cism and ANY cloquent pens have dra\\'nl vivid pictures of the trials and unappreciated hardships of the artistic performer: unap[;rccmlcd by the public that thinks of that artist only in terms of satisfaction or dis- satisfaction which that public has re- ceived for the money paid to see and hear a concert or opera. Until this recent comment in musical journals, little has been said of the much more hapless person elected to the thank- less post of music_ reviewer, L Mr. Olin Downes of the New York Times, a leading music critic of this coun- try, has given a conservative glimpse of some of the critic's trials. He says: The lot of the reviewer is much more difficult and complex and much more dependent upon individual ca- pacity than that of the artist. Ad- mitting that the artist is nervous be- fore his audience, what is to be said of the audience, not of thousands, but of hundreds of thousands, that the reviewer faces tomorrow morn- ing? How much time and how much aid has he in preparing to face it? The artist knows exactly what to ex- pect and exactly what he is to do in advance of his performance. Every minute is calculated and pre- pared for. The critic can only open his mind, sharpen his cars, concen- trate with the utmost possible in- tensity on what is passing and then prepare, in an hour, more or less, a recital of his cool judgment and his emotional reaction. Nor is his re- cital a mere recounting of fact. He has not only to relate that at 7:40 last evening the curtain rose on Meistersinger”; that the tenor origi- nally announced was replaced by an- other tenor of even worse qbality, owing to the first tenor’s illness ;- that the Eva was better than the Magda- lena, and the Sachs one of the best that has appeared in the opera these several seasons hereabouts; but he is to convey in an artistic manner impressions” of beauty and fine shades of meaning and this in a way that will have distinction and meet the test of cold print and cool-headed perusal the following morning: “It is an appalling task; how diffi- cult is only known to those who have tried it. The mere reporting of facts would not be so difficult, even though it must be conducted in gat- ling-gun fashion. But criticism is so much more than that. It requires such clearness of thinking, such weighing of values, and over and above the structure of reason and logic, the play of the imagination, the color of words that will give some reflex of the feeling of the music. The structural task alone is an imposing one. The writer has to create from a mass of facts, impres- sions, emotional reactions, a literary form that is clear, compact. and as interesting as possible for the reader. He is at one and the same time an architect and an improvisator, and all this while the presses rumble, and there are ‘15-minute calls for copy, and the hours fly fast, and the nerves tighten.” * % K X Several years of experience in the capacity of a music reviewer has de- veloped from facts the following im- pressions : (1) The proiessional musician * or singer wants the constructive, minute criticism that will help him round out and better work in an individual composition, of course, tactfully put. (2) The audience wants entertain- g, pleasant reading, and if any com- ments made agree with the reader’s own ideas, so much the better. The critic “is just wonderful.” (3) Some critics want to be clever, ardent following among the young ynics who form “literary and artistic” clans in every community. (4) Most amateurs want only “ap- ; plesauce” and plenty of it to put in | “folders.” Mary Minge Wilkins, Washington organist, has had an_enjoyable motor to Asheville and Skyland, N. C. She is spending a few weeks at the {latter place. She has given a pro- gram on the fine new organ recently installed in_the Woman's Club of casion to comment on the making of our music critics and have sup- ported the view of most newspaper- men that the best critics usually come from nong their own number sather than from the ranks of musi- cians. You know the argument—the fnewspaper man with a special knowl- | Asheville, The occasion was the birthday celebration of the opening the new club bulldin< last August. iss Wilkins expects 1 spend seva s at Cape Henry, Va.. before to Washington In time to . her duties as organist at Christ Church, Georgetown, ths first Sunday in Septamber. | musical series | divection of Walter Damrosch. | Capital is not solely due to his con- first and foremost, and always have | THE - SUNDAY STAR, WASHINGTON, D. C. AUGUST 7. 1927—PART 3. To Sing Entire Re | LAWRENCE TIBBETT, voung American baritone of the | Metropolitan Opera Company, is an- | nounced far a concert here November | ' 18, as cne of the attractions In the | Wilson-Greene course. This will Mr. Tibbett's first appearance here | I alone in a recital program. | | ch succossive season has witnes and greater triumphs in both and for "this brilliant who, though only | stonished audiences | power and beauty of l|:~4! cert artist and with his | in opera. It sensational | be | ed new opera concert { young « |30 yeurs old. has @ the lifo . | with | voice as.n ¢ " histrionic force Mbett who first flashed inio me two seasons ago as Ford in “Falstaff,” and who last Iebruary -reated the role of King Kadgar at the ropolitan niere of Deems Ta s opera, “The King's Henchman which will, incidentally, be brought to | Washington, just prior to Tibett's lo- | 1 concert engagement, by Jacques | moussoud, the well known condue- to! Lawrence Tibheit's riseeas a con- cert favorite in Washington has not only been rapid but uninterrupted. His first appearance lo was made in one of Mrs. Townsend's morning sharing the program Kochanski, violinist, De- 25. Later that season he sloist with the New Orchestra, under the with Paul cember 9, 1 appeared as York Sympho Alr. Tibbett shared a beth Rethberg, so- . Wilson-Greene's management. November 18, 1927, au- liences will have their first opportunity to hear him alone in recital in Wash ington. A Last Winter concert with El prano, under Tibbett's growing vogue in the for those who saw Rusticana” in the at the Audi- cert appearances him in “Cavalle Metropolitan torium last d him. awrence Tikbett was born the son of a California sheriff who was killed in line of duty when Lawrence was only three s old. The family re- moved to Los Angeles from Bakers- field, their former home, where young Tibbett completed his schooling and went in for Shakespearean repertoire, followed by an engagement with the California Opera Company. When only 23 years old he played Tago in “Othello” and he also played 1 eason” April enjo; LAWRENCE TIBBETT. with consummate success the gperatic role of Amonasro in Verdi's ‘“‘Aida,” which was sung in the Hollywood Bowl. In 1922 Tibbett turned his full attention to opera and boldly set out for New York to undertake a course of study. Five months later he was given a Metropolitan contract, and his Manhattan operatic successes fol- lowed, Mr. Tibbett's triumph is essentially an American triumph, for, in addition to being an American himself, he studied under an American teacher and made his bow to the public in an American opera compan: Famous-VioIin Goes Abroad. UROPEAN connoissedrs of the vio- lin are looking forward to the op- portunity which they will have next month of examining the famous “Li- pinski” ~ Stradivarius, which after many years in America 18 being car- ried back to Europe for a few weeks b; Alfredo San Malo, Latin-American vio- linist. He purchased the instrument in New York six months ago, and used it with excellant results in his American concerts, The reappearance of this famous violin, after many years in private collections, has reminded British and Dutch critics that it was at various times a resident of their respective countries. The history of the violin is recounted in the London Daily News in a letter from Prof. Hill, Lon- don collector and’head of a well known violin firm. “The Lipinski Stradiva- rius,” he says, “dates from 1715. It was probably one of a set of 12 which were made at Cremona for the King of Poland, coming into the possession of Lipinski early in the nineteenth century. This famous rival of Paga- nini_died in 1861, and his violin was purchaseds by Richard Weichold of Dresden, an_eminent dealer, who sold it to Prof. Roentgen of Leipzfk. In 1899 we became personally acquainted with the instrument, Joachim having advised its owner to bring it to us for repairs. The violin subsequently passed into the possession of an ama- teur in Holland, from whom we ac- quired it. “It is a very fine and bold type of the largest dimension of the master's work, and I hope it will now remain in careful hands.” Mr. San Malo will not play it in Lon- don this year, although he will visit England and submjt the violin to its former ownex for a careful inspection. He will use the instrument, however, several times in Paris and probably also in St. Malo, the French seaport which is the ancestral seat of his fam- 1ly. He will return to New York for the ovening of his American season in October. . Creatore's Band on Tour. CREATORE and his band, present- ing 50 symphony musicians, in cluding vocal and instrumental | soloists, has bezun a tour of one year, which started in Atlantic City, at the Steel Pier, and I3 including the | leading national falrs of this country | mond Jubilee Expositions of | ad which will*take the or- to the Pacific, Coast for engagements fn February. Daring the tour the band is listed as scheduled to give one performance | in this city. The band will be almost completely sponsored by ganizations of the country umong which are Shrin ks, muusic and social clubs, universities and col- leges and a number of leading bands in the West, Asked regarding the popularity of vand music In a recent Interview, Mr. Creatore said: “I find that band musie is becoming more popular than ever before. Music lovers are tired of jazz and are’ anxious w get back to real music again. The old masters are popular in every way and the mew composers of good music are being supported more than ever. Americans are taking more Interest in their worthy young composers whose works | I have always fostered. I have always been a friend of the Ameri- can composer, and often take the work of some unknown American gong- writer and arrange his song for the band. 1 find such works go to popu- larize band music. America is again cstiling down to good music.” 2 notable or- | prominent ! 1 1 WHO’S WHO IN LOCAL MUSIC MRS. HOBART BROOKS. Mrs. Hobart Brooks, known writer “Kate Scott Brool prior to her marri enjoying a suc cessful career as a singer—Kate Scott—has the distinction of being the first music critic of mnews papers in Washington, D, C. ad dition to this, Mrs. Brooks' name has long been among the leaders in many specific and important music endeav- ors in this National Capital. Mrs. Brooks was born in Indianapolis, | in that - Sta producing fine writers along many lines. Kate Neal Scott was the' daughter of the Jate Judge John Neal Scott and Eleanor Gorgas Scott. The musical| career of the future Mrs, Brooks be- gan wh s a youngsier, she studied under her aunt, Elizabeth Scott Lord, a prominent and cultivated contralto soloist of eastern Pennsylvania. Lat when her aunt moved to India to make her home with her brother: inlaw and sister, the late former President and Mrs. Benjamin Harri- son, Kate Neal Scott continued her plano studies under Max Leckner, and still later, with Professor Kappis, head of the Indianapolis Female Academy, where she started her study of sinz- | ing under the famots Mme. Ada | Heine, who traveled as Adelin: t accompanist_for several v going to Indianapolis to live Kate Neal Scott then came Washington to attend Mount V. Seminary and studied under Mme. | Logan and later with Dr. E. 8. Kim ball. Before her marriage to Hobar Brooks, well known for S here as a leading newspaper correspondent, Kate al Scott was soprano soloist in the Calvary Baptist Church, and also in the Church of the Epiphany for several Vears. Her first position as soloist was in the Tabernacle. which engagement she ~undertook when only 18 years old. In the Spring of 1888 she was engaged as soloist with the Bostonfans, but she did not fill the engagement as she was mar- rled in June. She gave programs in Hall and Chickering Hall York City, and was _soloist Petersburg Music Festival three consecutive seasons before her mar- rlage. She appeared as soloist with the old Mozart Association in Rich- mond and frequently sang with the Georgetown Amateur Orches when they g sncerts in the First Congregatienal Church, at Tenth and G streets northwest. She v soloist at the first Sunday night concert ever given by the United States Marine Band in Washington when John Philip Sousa was conductor. She also was soloist one season at the baccalaureate service of the Gettysburg Theological Seminary and was heard frequently in Baltimore, Cumberland and ° other nearby places. She sang duets with Eulalie Domer Rheem, now Mrs. Jack Rowe, contralto, in joint programs, in which’ they established quite a reputa- tion. Mrs. Brooks assisted Miss Blanche Yewell in the founding of the Rubin- stein Club, a chorus of 100 women soloists, which was conducted for a number of seasons by a woman, Mrs. Appoline M. Blalr. ‘After her marriage Mrs. Brooks be- came the first woman music critic of hington, writing the local music news as well as “covering” the con- as a and as ¢ woman e so noted s before | to! rnon | Steinway in New at the Patti's t During these of the lo Sunday years she wrote al church choirs Star and of old certs. histories for The ! musicians of Washington as far back 15 Clvil War days. She gathered the information from leading soloists then retired. Mrs. Brooks is now honorary presl- nt of the Rubinstein Club, a mem- ber of the hoard of governors of the Women's 1 Press Club and a membe Women's City Club. She also ctive in newspaper at present is not en- along musical lines. b ke and experi- enced nu gives the fol- lowing as her opinion of a pressing neced m music circles in the National ¢ reatest need for advancement of good mus Washington today is a proper hall in which to give and to hear such music. Almost ever city of any size has its philanthropist who takes keen pleasure in RIving his city what it most neads andl cannot give itself. And that is purely local. Yet Washing the great Natfonal Capital, goes without such a one, and the interest would be as much na- tional as it would be local. Washington wdienc Iways have in their midst some of the world’'s most cultivated people, and they are the most critical 1udiences before which artists in this country appear “It should be a matter of pride to the permanent residents and to the Winter ones as well to have a fitting music hall in keeping with the public buildings and the important educa- tional institutions of the city. Wash- on has much local talent in every anch of music. It has great ad- antage in the musical department of the Library of Congress, which, un- fortunately the few so far ap- preciats and enjoy, Inrgely due to the limited hours it is open. “A properly constructed which could be cut off to hest suit the chamber music and recital pro- grams and could be enlarged to ac- commodate opera and ‘John McCor- mack audiences,” would do_the thing for music which has been hoped and d for by several gemeratlons of jans apd music lovers in the rict of Golumbia. ' In Washing- history ®here have been at least musie halls, old Lincoln , and, er, delightful Met- zerott Music Hall, which was later the Columbia Theater, now under Loew's management. These halls probably did not but the city is many times . Ia - w and conditions all different. Why not, musicians and music lovers, get together in a con- certed effort for o good hall and give some philanthropist the opportunity to come forth as the good angel and push the project through?” . hall, one Tlizabeth Davis, organist, and Albert Wellington Summers, barf tone, are giving a recital at The Plains, this evening at 8 o'clock. Their program will include numbers from works by Bach, Handel, Cesar Franck, Gounod, -Saens, Le Mare, Wit liams, and others. Miss Da is a pupil of the late H. H. ¥ and BEdgar Priest. Mr. Summers has studied with the late Victor Golibart, other local teachers, and with Arthur Fickenscher at the University of Virginia. M. MAURICE RAVEL, of the most talked of in the group of French composers in,the “modern s school of musie, it is announced, durlng the comiug: season. . leading orchestras, including the Bostan ony and New York S; San Francisco Symph engaged for 14 recitals In lerding ton will make a tour of the United States He will conduct his own orchestral works with mphony, Cleveland Symphony, mphony, and has alreadyebeen ui (h'y country. | lor Band Programs U. 8. MARINE BAND. | The following are concerts to be | | given by the U.'S. Marine Band, Tay Branson, leader, and Arthur 8. Witcomb, 8 nt leader, during the coming week: Monday, 4:30 p.m.. at the barracks March, “Our Tegion on Parade”H. D.. Prsor | | “Les Preludes® ....... ... ... ... . Lisat Characteristic Intermezzo. GREONE e 2 Euphonium solo. “Rode’s Air and i e . .Sullivan “Luey Long"’ Godfrey John D. I Andeict “L'Apprenti Sorcier’ Fantasia. “A” Stag Parts". .. Marines’ hymn. “The Halla of ‘Monics “The Star Spangled Danner Wednesday, at the United States Capitol, at 7:30 pm.: arch. “Mereatel” ... .. certure. " The Bartered Brid ‘Romance i ¥ Minor. Opus'5,- “Rode’s Air Basson solo Scherzo. Euphonium solo tions’ 1 Scenes from * 5 ~Goaf) | Bassoon solo. “Lucy T % “Cyohn 1 H'Andelet Rhai “The Bamhouli. Opus 75 Coleridee-Taylor Suite ite, Sojisa ar. (b) * (81 rey wdic dance. Light of ‘the Polar St ath the Southern Cross. ars and Venus. he Star Spangled Banner.” esday, Montrose Park, Geoige- at 7:30 p.m | “Looking he Tu town, x o, i “Joy Trombone sl P Hervey Seléetion, *“Vict or Herbert's Favorites,” Valse de concert, “A Waltz Dream.” 0. Straus Grand March, “The Bohemians”..: Hadley ““The Star Spangked Banner.” Thursday, in the Sylvan Theater, Monument Grounds, at 7:30 p.m.: March rty Boll’ Qvertiire, “'Phedre < Persian dance from “'Khovanétehiia. A Mougsorgsky Euphonium_ solo Va tions g % P B Suite de ballet, “Les Deux Pi (a) "‘Entree dez Tzigano (h) “Scene ot Pas les deux Pigeons.” () “Theme et Variations.” () “Divertiesement.” (e) “Danse Tongroise.” (1) “Finale. Bassoon 60lo, “‘Luc " Yohn uintet from Nurnbere” ... “Sehmiedelleder. Messager Long’ e D’ Andeigt, “Die Meistorsing Mrey (a) von (b) Grand r from’ scenes from “Otello”...... “The Star Spangled Banne: THE SOLDIERS’ HOME BAND. The following programs will be given during-the current week in the upper bandstand of the U. 8. Sol- diers’ Home by the military band there, under Johne M. Zimmer- mann, leader, and Anton Pointner, assistant leader, each program be- ginning promptly at §:40 p.m.: Tuesday. March, “Col. James 8. Pettit, U Overture. “Solgnelle” (181 Transcription, “Liehesfraunm Potpourn. "Gems of S No, 2" Fox-trot. Popul . Waltz song. “Remember” Boomerang”. ... ... ... “The Star Spangled Banner. Thursday. March. “The New Ebbit"......Zimmerman Overture, “The Caliph of Bagdad". Boieldieu {Reauested.) 8 Suite oriental, “A Lover in_Damascus.’ Amy Woodford Finden 1. UFar Across the Desert Sands.” “Where the Abana Flows Beloved in Your Absence. How Many a Lonely Caravan.'” { in the Great Bazaars.” Allah ! Be With Us." Melange, "Gems of Offenbach”. ... Foxtrot. “Where the Wild Wild Fi irow"” S 3 Valsa coneert, Finale, ‘'Heart of America’ “iicsee “The Star Spangled Banner. Saturday. March, “The Banner of Liberty.” Overture. “French Comedy™. .. Morceau original, “A Melodie Grand selection. “La Traviat “Crazy Wor Fox-trot _novel Tune™ (V0-Do-Du-0) .. Waltz suite. “On the Beautiful Rhine. ‘Keler-Bela Finale, “Gonna Get a Girl'’ Lewis “The Star Spangled Banner." U. S. NAVY BAND. The U. S. Navy Band, Charles Ben- ter, leader. and Chagles Wise. second leader, will give the following pro- grams during the coming weel Monday at the Capitol at March. “The Fairest of the Fair { s $. A" Zimmermann 2) . Tachaikowsky Liszt éat Mari - JRose (requested) : Berlin Finale, Lithgow alse of the Doll, " ungarian Dance. = elique. “Kamenol Ostrow y Rubinstein Qverture, * Der. Freischutz”. .....Yon Weber Clarinet solo. *1st Grand Fa Le There (Bmatr.© Charles ~Brandler.) Grand Scenes irom the Opera. “Rienz Valse de Concert, “Artist's | Excernts from ““The_ Serenac Characteristic. “El Condor P “The Star Spankled By Sylvan Theater, Tuesday in the Monument Grounds, 7 March. “The Washington Gre; Overture. “Merry Wives of W Cornet solo. "Arbucklenian Polka" Hartmann (Mumcian E. Hruby. ). Characteristic. “Reminiscenses of Ireland Godfrey Humoresqu . .Slater e T Thurban hen ) Reve Ange “Herbert Robles Gratulla a Tail andy Sings 3. “The Watermelon Fet Excerpts from “High Jinks" “Garden of Rosen”. he Star Spangled stand, Wednesday at the band Navy Yard, 7:30 p.m. March, “Shenandoah National Park." Benter (Dedicated to, Col. R. E. Harper.), Overture, “Oberon” . ...........Von Weber Solo for baritone. *Beautifui ‘Colorado. Dé Luca (Bmstr. Joan Manganaro.) Tone poem. “Lea' Preludes .. Liszt Grand Scenes from the Opera. "Ll Troya- AT Verai ‘Invitation the “Von Weber Soldige Sraues <Liszt Dance” ... Excerpts from “Hungorian Rhapsody. No. 8 “Tae Star Spangled Banne: Friday at U. S. Naval Hospital, Twenty-third and E streets northwes n Der Mehden Tentner March, “Triumphant Ameri; verture. “Fea ntermezzo. “Gavotis Scenes from the Grand Boccanegra™ Waltz di Concel Gems' from the Marcn, “The American Gentlemen' . “% wThe Star Spanled Banner.™ UNITED STATES ARMY BAND. The following is a schedule of pub- lic activities of the United States Army Band, Willlam J. Stannard, leader, Thomas F. Darcy, second lead- er, for concerts to be given during the | current week; Monday. Concert at Franklin Sauare, 0 p.m. Huduiay—Concert at Walter Reed Hospi- tal 7:30 p.m. Wadneaday-—Concert at the Sylvan Thea- ter, 7:30 p.m. ;r_hurmy—Concen at ‘the Capitol steps. Friday-—Concert at Tuberculosis Hospit 7:30 p.m: The program to be presented in the Sylvan Theater Wednesday night at 7:30 o'clock, algo to be played at the Capitol steps Thursday at same hour and broadcast via ‘Station WMAL the latter date, will be: arch. “Hail, America® Overtiire. ““The Year 18] aphone solo. caprice) ... (Technical, Sergt.” Eu | Tone potm. “Les B Grand' fantasia, World Ove “Zacatecan™ 1111 der Thomas F. ‘Darey’ conducting. “Dee Tambour der Garde" ... Titi waltz, "Besos v Prsos”. . Mar{nez ns from “The Sunshine Girl"". Rubens ox-trot, "At Sundown.".. Donalison riele 2 Drumm ‘ ... Wiedoeft Hoatetter.) 5 - Liszt nale from * 5 tra: Fox-trot, “Just the & Spanish_ mareh, “Los Banderilleros’ “The Star Spangled Banner. . Lawrence E. Murray, well-known bass-baritone, left July 30 for Chicago and Peoria, Illinois. While in Chicago he will study at the Chicago Musical College. In Peoria he will be the guest of his brother-n-law, Howard Johnson, auditor for the Peoria Rail- way Co., and of his brother, Walter J. Murray, superintendent of the Peorla | deeply | nal BY HENRIETTA STRAUS. BADEN-BADEN, July, 1927.—How man has become enslaved b the soulless miracles of machiner finding sharp revelation at this fes tival, where the “future” tendencie of music are bei illustrated by mechanical player instruments and even by a “music chronometer” to measure the tempo and rhythm of contained or for mechani another the chronor tion. One program compositions organs and pianos; an exposition of powers of the “music in timing music with the motion of @ film, whether the music w played by a visible human orchest by a mechanical player instrum or through the vitaphone, Both con- certs emphasized one and fact: that a_new music is being for mechanical instrume nd that it has no life or meaning apart from | those instruments. There was a_“Toccata and Scherzo," for a mechanical piano, by oun Nicolai Lopatnikoff, and io Fugue and Intermezz same instrument, by a young yman, Hans Haass, in all of wh'ch there were dazzling effects in ales and other technical fireworks beyond the ability of human was a “Study for Me- Organ” by Ernst Toch of that brought forth brilliant sults of which no or ist could \ dreamed. There was a suite for this same instrument aul Hindemith that brought out ¢ effects than any r orchestra could ever aspire to, and even the first part of George Antheil's “Ballet Mecanique,’ arranged by the composer for m chanical pano, and, it must be con- fessed, most disappointing in its dull results. All these worl technical resources of these mechani- Vienna orches imagination as well as the power of the human performer, but all were equally devoid of one human or per- #onal note that could be called musle In the general acceptance of the term. concert was designed music with the film today have their “opus ' Opus 4, for instance, by a certain Walter Ruttmann, proved to be a continuously changing design of blocks and colors, which may or may not have been highly symbolical, but was certainly not particularly significant artistically. This film _was given twice, once with music for kammer orchester by Hans F er, Wifl! Paul Gergely condeting, and once with the same music through the tri ergon- Verfahren, or vilaphone. In bothin- stances the music chronometer wa used to time the tempo and rhythm o the music with the film. It was also used again in the second and last film, Sullivan’s “Felix the Cat at the Circus.” for which Paul Hindemith has written music to be played by a mechanical organ. This music chr nometer, which was invented by a ce tain Carl Robert Blum, is far advanced beyond the metronome in that it re- cords proportionately every acceler ando or retard, every nuance of time and rhythm within a given tempo. Its possibilities are apparently unlim- ited, according to the inventor, though they did not seem especially startling Chamber MUSI.C notes and synchronize them with mo- | showed the | cal instruments to be far above the | Baden-Baden |35 demonstrated. | with more illustra | vitaphone, which d |as good as the Americ | These two con | como first in the 8 third and fourth, respect illuminated in othe ways the ch ber musi ceceded them. One fact in stood out for t reviewer . and that startling and even likeness of rtain modern chamber music to ma It was notlceable in all t < presented, wheth cstring_quartet by Bolesla or by Alban Berg; whether in for Violin and Plano™ by Ma or a sonata for cello and piano Hermann Reutter: in a small | cantata for women's trio, tenor, vio ind piano, by Hans Eisler, or, lastls v piano sonata by Bela Bartol, | The only exception was a string hy Dalmatian compdser, Krsto Odab, which st in spite of dull rendition by the Amar Quartet some of the talent, if not the “gsniu lof that “passion’™ without which no art is las Machinery has indeed | “entered the imaginations of men,” to quots one of its devotees, George An “”ul' when we find its monotonous whirr nd pounding and its dull grating of metal upon metal in cham | ber musie, where we are supposed to find the tonal art in its most refined essence. The fifth concert of the festival was evoted to four little operas with kan srehester—Die Prinzessin auf der after Anderson’s text, wi nst Toch; “The Abduction n opera‘minute in_eight Darius Milhaud: **Maho gonny songact” Jv Bert Brecht and Kurt- Weill, and lastly, “Hin und Zuruck,” a sketeh by Paul Hindemith Of the four. “Mahogonny,” a mad fantastic skit on a communistic caba ret, with four men and two women nging nonsensical songs in inglish wed the most originality vitality and talent. Broadway, how . could have done better with it It made a tremendous sensation, and when some one in the audience wh tled, one of the four “bums” on t stage whistled back. The “Princes on the Pea” was charmingly dor and the music again revealed Ernst Toch’s qualities of surface brilliance— qualities which have made him a prime favorite with his audiences, both in Frankfort and in Baden-Baden Milhaud's opera showed little imagi I nation and less music, while Hind | mith’s “Hin und Zuruck,” another e skit in which the entire 2 is repeated ard, was merel clever. The idea itself has heen bet- ter carried out by Charlot’s Revue, if memory serves me correctly. This Chamber Music Festiva Baden-Baden was begun in 1921 in | Donaueschingen by the Society of the | Friends of Music under the patronage of Prince Max Egon von Fuerstenbers, and took place there annually untii this Summer. Its main object has been apparently to encourage the ex- perimental movement of the younger generation. Some of this generation, however, like Bartok, are men in their forties, who evidently have not yet | found that which they are seeking, for {that which they are making cannot even now, even after six vears of fa- miliarity ‘with it, be called music. | Music i not made in a laboratory. The concert ended ns of the Gerr not seem nea n one. should it | ™ i Large Organists’ Group Convenes at St. Louis the the the over attend of RGANISTS from all United States will twentieth annual convention National Association of Organists St. Louls August 23-26. Noted re- citalists will be heard, including Lilian Carpenter of New York, Arnold Dann of Pasadena, Marshall Bld}\'ell of Coe College, Towa; Rollo Maitland of Philadelphia, with Arthur Davis of St. Louls. Five notable organs will be used In these recitals. Galloway of St. Louis will play the first recital. Harry Goss Custard Liverpool Cathedral. will bring fra- ternal greetings from England, and play a recital. He will also give a lecture on the work: of the modern English organ builde American organ music will be heard in a special recital by Mr. Davis and in the composition winning the prize of $500 offered by the Kilgen Organ Co. Another American work will be a symphony in four movements to be improvised by Rollo Maitland on themes submitted to him by a special committee, The visiting organists will hear a performance of “The Tales of Hoffman” by the Municipal Opera Co. Among those attending the conven- tion will be delegates from 20 St: councils and local chapters of the as sociation, together with many experts in organ building. There will be papers and discussions of interest to church musicians, and all the sessions and recitals will he open to_the pub- lic. All organists are cordially in- vited to the convention, a program of which may be obtained by writing to the association at 49 West Twenticth street, New York. The' officers of the association President, Reginald 1. McAl York; vice presidents, Henry S. Fi Philadelphia; T. Tertius Noble, York, and Roland Diggl geles; executive committee chairman, John W. Norton; secretary, Willard 1. Robert well, ew York. The Missour State_president, Dr. Percy B. Lves den, 1147 Aubert avenue, St. Louis, is chairman of the local committee, and will give complete information about the conventlon, whose headquarters will be the Chase Hotel. Nearly 400 organists registered a the Philadelphia tonvention lnst year. and it is expected that a larger num- ber will make their vacations this Summer include St. Louis, so as to at- tend this year's gathering. — organist of re: ow Movie Ingenuity. OW to give a woman a black eye and still yemain a gentleman has been solved By Mauritz Stiller, direc tor of “Hiiting for Heaven." For picture purposes, it was nec- essary that Olga Bakianova, noted Russian actress, should have a black eye, the gift of Emil Jannings, star of the’ production. Stiller consulted James Collins, head of the Paramount make-up depart- ment, who stuck a piece of onion skin on Mme. Baklanova's orb, giving it a Charles | M. Tread. | lantic for his | MUSIGRAPHS | of installing | work an at C the large Ivary Baptist under way, and the two additional orzans in the towers being placed this week. The old . which has served for the past has heen dismantled and space will house the main organ. Thomas Moss, organist and director at Calvary Baptist Church, announces { the ‘personnel of the mixed quartet for the coming as follows { Florence Sindell Cleo S. 4 Ray- | Church is n mond, teno This qu quar Fred East, baritone. rtet will replace the male Das furnished the musie at both services during the past four years. The evening choir and the mixed quartet will continue to feature {a high tvpe of choral music. The | new organ, which will be the largest church organ 1n this vicinity; will be featured anday recitals, and lead- ing cone: anists will be invited for week-day recitals. Frances ington sopr at Villa M o Kaspar Lawson, Wash- 1o, xave her fifth recital ia’ College near Philadel- phia Friday. Today she will appear in a sacred song recital at the Uni- versity of Virgin'a, her sixth appear- ance at the school. Tuesday, Mrs. Lawson will give her third recital at the State Normal School at Cullowhee N. C. Thursday she will close her season of 64 recitals for 1926-7 a recital for the Woman's Club 'of Waynesville, N. C. Irma Von Lack dramatic g0 prano, and sister, Mrs. Hugh Arthur Allen, lyric soprano, will give a groun of songs and duets from the operas at the luncheon given by the New- comers Club tomorrow at the La Fayette Hotel. . SinsMils) GasstorSaMilo QAILING on the De Grasse th week was Alfredo San Malo, linist, who is traveling across the At- rst visit-since boyhood » his ancestral lome .of St. Malo, France. - The famous fortress seaport of St Malo was named. after his ancestors, an old Huguenot family, which, dur ing the religious persecutions, fled its native’ heath to take up residence in Holland. A group of these refugees emigrated to South America, and the violinist is a direct descendant of one of these pioneers. His father and mother were both violinists in. Pan- ama. San Malo began.his violin studies at the age of five, and was educated mainly in France and Germany. In 1916 he was one of the two forelgn students admitted to the Paris Con servatoire, and three years later he completed the four years' course with the highest honor, ‘signalizsd by the award of the coveted Grand Prix to a student of only 17 years. Since that time he has played in almost every great Kuropean music center, but has never revisited his ancestral city of St. Malo. He will play there, as the guest of the municipality, this Sum mer. . He returns fo the United States in drawn and puffed appearance, -and then artistically painted the skin in bruised shadings. October for a ‘Carnegie, Hall recital which Wwill open his second American son. TENOR WISHES SOPRANO WITH KNOW e of piang and church wo dress Box 4. ar_offico . BESSIE N. WILD | Voica Calture. Piano and Harmony, Studio.” 6824 St st Takoma Park. D € o A “SAXOPHONE | Pianp Tenor Banfo_ Guitar. Drums. Efe. In 10 to 20 Lessons Orcheatra Traming and Practice Comae in_write or. phone for booklet. lessone if by instrument from CHRIS N SCHOOL OF MUSIE 1213, Park System. Mr. Murray studied voice for many years with E. Warren Howe, Chicago basso profundo. MENT 1 YOICE AND mARMONY Ne and Accomprnyin IR Tl A SOPHOCLES T_PAPAS Teacher of T uifar, Mandoljn, U Hawaila Kaiele. Ave Fr Walter T. Holt Studios ESTABLISHED 1894, Oldest established chool in Washington goecializing o instructions on mandolin, banjo guitar .nd their variant instrumen N but reliable. standard- methods useu. ‘mble oractice with the Nordics Clubs. ‘atalogue seat on reg 1801 Columbia Road M.W. Colunibia 946. PROFESSOR E. S, COSTA Graduate Bellini Gonservatory: Messina Ttaly, ahnotinces the ofening,'6f his ‘studio for hiynnucunm . nstr m’en'- M .