Evening Star Newspaper, July 21, 1929, Page 47

MUSIC BY HELEN FETTER. HERE is not the slightest|sentially dramatic, if the motion doubt that the public gen- | picture companies disregard the erally in these United States ' dividing of the action into the stiff is daily growing more mu- | four or five stage acts called for: sical. Last week at the Palace | with the operatic stage limitations, ! Theater Senor Zelaya—son of a | then the artistic development of former President of the South | operas into impressive sound pic- American Republic of Nicaragua— " tures should be quite within the THE SUNDAY STAR., WASHINGTON. ‘who has chosen to make his home in Washington for more than a score of years, said: “I am con- | vinced that there are still some people in America who have not lost their interest in good music.” | It is still true, too, that there | are some people in this country | who have yet to find their love for \ good music. Increasingly, how- ever, the fact is being recognizedf that a love for real music does ex- | ist, dormant though it may be in some of us for a considerable period of time. Through the assistance of the| mechanical arts the more subtle, | delicate art of music is being| brought to the front ranks of in- terests in the United States.| First the phonograph made it | possible for shut-ins and many other people who could not afford expensive concerts to hear the greatest artists of the world inter- pret master works. I Recently the vice president of | Columbia Wholesalers, Inc., an nounced that a Nation-wide sales report of that company revealed a | surprisingly high mark for the| sale of recordings of classical music in America. This company was a pioneer in the field of pro- ducing “master works,” often in- volving several disks to record a single composition, such as a symphony or an opera. It also is listed as having made the first attempt to present unedited chamber music in this country. Other leading companies are busi 1y following similar trends in their production. As far back as a year ago a rep- | resentative of a leading phono- graph concern told the writer of this column that already the sale demand for records was being limited more and more to two dis- tinct classes—one, the uncompro- misingly big classics; the other, jazz. The demand for records by | individual musical stars, based| upon the fame of the particular| singer or instrumentalist, which/ once formed so great a proportion | of the total output, is now the, smallest and most insignificant.| The people buying records for| their improved phonographs | wanted the music, first and| foremost, and, while they de-| mand adequate interpretations of | that music, the artist or artists| performing it now forms an en-| tirely secondary matter of interest | with the purchaser. This is a most hopeful sign for real musical | development in the great audience | that is the general public. Most | of the demands for jazz records | come from the younger element| of the public—the flappers and' their boy friends who want to use | the records for dance accompani- ment, S FOLDOWING closely upon the heels of the phonograph and | spurring the makers of the latten‘ instrument on to much higher de- | velopment of their instrumems‘ was the radio. Already the nov- | elty of this form of music has| worn off. The musical fare being | offered over the radio has its high | spots and also has many low spots. ! The higher-class radio offering, | however, is on the increase. With such musicians as Dr. Walter Dam- rosch and ;Dr. Sigmund Spaeth | carrying the message to schocl| children via radio, and to adults| via the revised consolidated grouping of leading concert art- ists presented in small town halls | that never knew such artists be- fore, the radio musical apprecia- tion work is doing its bit, hand in hand, to help the public in realiz- ing that even the greatest musical | compositions are based on a solid | foundation of rich melody. Melody | sounds the keynote of interest to| amy human being, from one end | of the world to the other. With| the more complicated works it is simply a question of the listener who is untutored in the musician’s art having sufficient patience to listen often and more or less with concentrated attention to acquire familiarity with the melodic mes- sage of these compositions. Statistics have shown that to live long on the radio a piece of music must have more than su- perficial arpeal, The so-called opular “hits” that Tin-Pan Al- ey turns out each year have their lives in the favor of the public eye foreshortened six time the previous length of their popular- ity by the familiarity they acquire with frequent hearings over the| radio. *x kX X . OW comes the latest of mec-| chanical exponents of music| to date. The “talkies” are with us. | They are still too new to give one| much of an idea as to how they will work out practically in fur- thering the cause of fine music. As the phonograph won its first popularity with the featuring of records by “star” soloists of the realm of achievement. Much de- pends, too, upon the histrionic ability and physical comeliness of the singers chosen to interpret the roles in these talkie operas. No wash-tub sopranos or runty tenors with wooden hands and sparse- ness of gestures should be taken for such productions, no matter how beautiful their voices, for they will undo the very idea that they are trying to put across— familiarize the public with the beautiful music and dramatic val- ues of opera. The inadequately equipped singer who is a great; vocalist but poor actor can hold his audience at the regular opera performance regardless of his lim- itations because of the color, the actual physical presence of that great flow of melody from his throat. In the sound pictures, however, this appeal is minimized or totally lost. A singer with a much smaller voice that is well trained, who has the dramatic giftand charm of person, can suc- ceed in motion picture opera where he or she never could hope to succeed on the actual operatic stage, for the clever mechanics of the art of transcribing his voice into terms of picturized sound can enlarge the power of his tones quite easily. It is chiefly a mat- ter of how near he is to the micro- phone. * % x X O it goes. Through the mechan- ical means of phonograph, radio and sound pictures the great art that is music is being served. Millions of people who had not the time or facilities available, even though. in many cases they might have some degree of talent as individuals, to become trained for musical appreciation and pro- duction, have shown by their wide approval and keen interest in each of the three mechanical devices that they are interested in music and are not losjng an opportunity to hear what music has to say to them through these mediums. In-| dications strongly favor the idea that radio and motion picture pro- ducers will find that the public is interested in the finest music through their particular instru- ments, just as the public has shown its favor for “master works” for the phonograph. It is what the public wapts that, as usual, will decide what is produced. Pro- ducers are in their various lines of business for profit and success. All the pessimistic, scholarly mu- sician has to do in hoping for bet- ter music through all these me- diums is to develop personal pa- tience and wait until the public generally has reached the point where it demands, as a great over- | whelming force, the best music via radio and motion picture screen. Mrs. Stoddarér Writes About High Lights of Convention MRS. JOSEPH M. STODDARD, presi- = dent of the District of Columbia Federation of Music Clubs, has submit- ted the following notes as tomments on some of the outstanding features of the National Convention of Music Clubs of the United States of America held last month in Boston: “The National Federation of Music Clubs is growing to a vastness which is almost incredible. Hundreds of clubs, choirs and musical organizations in city, town and village are going forward in all musical lines wntlctln‘ with every phase of our civic and social life. Nearly 500,000 clubs are federated, including more than 400,000 individual memberships in 40,000 towns and cities. This great cultural force cannot fail to produce an esthetic expression of inestimable value for America. Every State in the Union is represented on | its national board and yearly meetings are held in various parts of the country. country. “Among the many interesting ses- sions at the recent convention held in Boston were those on American compo- sitions, and the problem of creat! audiences the use of the English language. “I was amazed at the interest being shown and the efforts made in ad- vancing American music for Americans and in bringing into its own the Eng- lish language, which has been much decried as & singing medium. The English language is beautiful, euphonic WEEEK OF . snd quite adsptable to musical expres- oLy Sanday Monday Tuesday Wednesday Thursday Friday Saturday sion, Americans haye consider = William Boyd in William Boyd in William Boyd in Dolores Costello and Dolores Costelio and N fon | poor medium, for singers for several|Ambagsad’r “The eatherneck The Leadiefieck “The Lethernect.” Geor e, &' Brien eorge O'Brien “Studio” Mrder Mrs- . Ba tand ouf - edy. omedy. n in ery. y pre-eminently. Faflure to know its i “Noah's_Ark." “Noah's_Ark." omed Conedy.” “Vita, Teel. sound values and construction and e WG Farky. “1he Wiid Farty. T e e e hens and Kel; “The Conens and el OSecy Roltimn Wretched articulation have done much | Apollo 5 ® Cartoon. “Carcers “Careers. Iy in_ AtiaRtc. City. Hantic. ity # +The Donovan Affair. to bring it under reproach. Vitaphone subject. Vitaphone_subject. Vitaphone _subject. ‘Vitaphone subject subject. ach_comedy. “We hear an opera, written abroad. Bilile Dove Sue Carol_ii jean Her: d yllis Haver in Downey Jack Holt and . d “The Shady Lady th: clothed in its true musical colors, whicti | Avalon i “gasfers” ois Grae Wi Line pucletiedn RSSMIASY aiomer movs B Daore AR we “&'Z" en)ny':‘ uge -lr‘: enthu:hh:m Comedy. Comedy. ita. _short subject. ration.” Topies. x Oddity_reel. Our Gang comedy. over resent n, smoothness Mae Busch and Mae Busch and n ichard ‘Tucker and Clive Brook i Olive Bord d May McAvoy 1 opera in English badly translated. : ot Carioom. Vifa: short subject. Vita. ‘short subect. P Gomedy. o Thinking that the music is, of course, Nars - Bickiord beautiful, we conclude that it must be Carolina Lon Chaney in n Ray Hallor in Chester Conklin in Tom Moore In \oFom Mix in the words which hinder our enjoyment. | VATO! “Where East Is East.” “Tess of ihe Storm “The Biack Pearl.” “Taxi 13" “The Yellow Back. King Cowboy. Also, many singers in America ignore i - 1 i 1 Willis P 11 1 Cla Bow in grammar, articulation, phrasing and | o) A Nt M The Cghars urder The Wild Party.” 8] c . = aphone ase.” ameo come: e{, give beautiful :o:nd:, but ‘y, g.‘u = %}:c! = x 'Fué?c' ‘a s 5‘:“&: = Vitaphone_subject. estan eTmese. out 0 S TR S Gl Sl Ehbpn BUSTRLAN MMM mnaame RN 3 n in y 7l 4 “Although we may not understand a “'China_Bound."” “China_Bound."” “Tove in %m Desert.” ‘Scarlet_Se: aga% ] t is say-| = Jack Holt and Jack Hclt and Phyilis Haver 1 Glive Borden and Mae Busen and Ste Carol_in May McAvoy ;fldtfi;‘.:h,;t .h:ut‘?;:lgyn !.:tnhre%:tlon- Joi Dorothy Revier in rothy Revier in “The Shady Lady." Noah Beery in Chester Morris in “Girls Gone Wild."” o g Col ny ““The Donovan Affair.” ‘“The Donovan Affair.” omedy. “Love in the Desert.” 4 Oddity reel. “Stolen Kisses. ship between composer, writer and Comedy. Comedy. Vita. short sublect. _ Comedy.. Vita. reel. Krazy Kat cartoon. Vitaphone subject. Sennett_comeds singer, who seem to understand each E of the more unusual of the | church musical groups in Washington is the choir and orchestra of the Full Gospel Tabernacle, which is located at North Capitol and K streets, of which the Rev. Harry L. Collier is the pastor. At this church, which presents the gospel with the idea of divine heal- | ing as its chief theme, and is interde- | nominational, the choir is given sup-| port by an orchestra of fretted instru- | ments as well as organ and piano. This | combined group has presented some popular hours of music in_the taber- nacle song hour, via station WOL. O | | be seen in the accompanying pictur orchestra is John M. Sharer, who will standing at the extreme right, in the front. H. J. Brandes, organist, who studied under Dr. Bischoff, is in the center of the second row from the top. Mrs. Sharer, the pianist, is first from the left in the first full row. Dr. Collier is in the center of this row, with Mrs. Christine Peirce of Toronto, Canada, | well known evangelist and radio singer, | at his left. Mrs. Peirce was in Wash- | ington giving guest sermons at the Full | Gospel Tabernacle at the time this pl(:-‘ ture was taken, June 16, when an all- day convocation was held. Special soloists of the choir are Grace | | Ford, sixth from the left end of the| son, Effie C.Miller, Mrs. Kozios, Mildrad | Brown, Mrs. H. Ellis and Pearl Hargitt, The musical director of the choir and ' second row from the back; Catherine | Hadden, Charlotte’ King, Ruth Bitting, ' cornets ~ Dc TULY 2 CHURCH SINGERS OF WASHINGTON—FULL GOSPEL TABERNACLE CHOIR AND ORCHESTRA 1929—PART 4. 3 Johann Strauss Celebrations Fifty Years Ago and Now VIENNA, July 5.—In 1872 the young- | er Johann Strauss received an invita- tion to come to Boston and take part| This Johann Strauss does not live in in the centenary celebrations of the| Vienna, but has an orchestra in Berlin. Declaration of Independence. He was The great surprise for the Viennese | asked to conduct a number of concerts, | was his almost exact likeness to his . among them a big choral performance. | famous uncle, not only in his facial | The master of the waltz felt greatly | expression and the way in which he | flattered, but he hesitated a little, for | cuts his mustache, but also in his gen- | at that time a voyage to the New World | eral bearing. It looked as if his uncle was still considered a great affair with had stepped down from his monument almost a heroic note in it. Unforeseen |in the Stadtpark, the violin in the left | things could happen on the way, and | and the bow in the right hand, to play there was the specter of seasickness, a |to the Viennese once again. The true rather discomforting idea for the man Strauss rhythm lives in him, and as | ! | Blue Danube,” also called Johann, eon« ducted them. | Who has drawn inspiration from the | blue waves of the Danube, but was not | so sure about his qualities as an ocean- ! going saflor. However, the wish to see | America and collect new laurels and wealth proved too great a temptation | to be resisted. He went and tri- | umphed. His 14 concerts in Boston | and four in New York were a series of | victories. Directed 20,000 Voices. | | 1In a letter to his wife, Strauss gave an | amusing description of the mass con- | cert in Boston which he directed. In a | great hall, especially--constructed for | the festivai, he directed & choir of 320,- Fentress, at the right of Miss Ford: | Mrs, Le Roy Starkey, Ruth Wilson, Ruth ~Kernan, contralto, and Mrs. | Elsie B. Heller, Margaret Byers, Mar- Brandes, who sings alto. Both Miss| garet Snapp, Mrs. H. C. Byrd, Mary Ford and Mrs. Fentress are sopranos. | Smith, Wililam E. Hadden, W. C. Heller, The double male quartet is com- |L. P. Safford, H. C. Byrd. R. G. geed, posed of J. C. Price, Jerry W. Breeden, | Mr. MaoDonald, J. C. Price, V.. H. Harry J. Wedding, Arthur Dunning, | Heflin, James R. Steele, 5. T. Brown, Charles L. Hargitt, Presley Wedding, | Le Roy Starkey, Arthur J. Dunning, William C. Heller and William E. Had- | Jerry Breeden and C. L. Hargitt. den. The complete membership of | Orchestra—Mrs. J. M. Sharer, pia- choir and_orchestra includes: | nist: H. Ellis, Lois C. Burton, Ruth Choir—Mrs. T. V. Alley, Mrs. H. J.| Leitch, Alice McNally and Dorothy Brandes, Hattie H. Driscoll, Helen Wed- | Wedding, guitarists; Sadie B. Warters, ding Mrs. E. Rives, Marie King, Mrs. Loretta N. Chapman and Florence Leslie Perry, Mrs. F. P. Crawford, Mrs. Rohrback, mandolins; August Daros, ‘William E. Hadden, Catherine Fentress, | violin; Harry Wedding, Presley Wedding | Ruth Kernan, Grace Ford, Mrs. Robin- | and John McDowell, trombones; Glenn | Service Band Date THE U. S. MARINE BAND. The dates on which concerts during the current week will be played by the U. S. Marine Band, Capt. Taylor | Branson, leader; Arthur S. Witcomb, second leader, will be as follows: ‘Tomorrow, Marine Barracks at 8 p.m. ‘Tuesday, Forty-fourth street, Foxall and Conduits roads, at 7:30 p.m. | Wednesday, U, S. Capitol, at 7:30 pm. | ‘Thursday, Sylvan Theater, Monument Grounds, at 7:30 p.m. The feature program of the week will be a symphonic one at the U. S. Capi- | tol, Wednesday evening at 7:30 o'clock, | with the ‘“Pathetic” symphony by | Tchaikowsky, as the main number. | ‘The soloists will be Frank Wiblitz- hauser, saxophonist; Musician Wilbur D. Kieffer, xylophone and chimes, and Musician Luis Guzman, piccolo. ‘The full programs will be printed in | The Star the day of each concert. THE U. S. NAVY BAND. Beethoven's “Marche Heroique,” two For Mun |4 UNICIPAL OPERA,” St. Louls’ thousands. In thase three weeks the famous non-profit civic endeavor to provide lighter music. romance and | fun for its citizens in the unique Mu- | nicipal Theater in the center of a 1.700-acre Forest park throughout the Summer evenings, is feeling the effect of “the talkies.” o Also the effect is mot in the way | Municipal Opera’s directors had ex- pected: least of all as the movie mag- | nates had anticipated. The first three weeks of the 1929 cycle of 12 open-air operettas in Forest | Park showed a remarkable increase in | attendance and in receipts over the | same period in any one of Municipal | Opera’s 10 previous seasons. As compared with last season there | were 13,718 more people in the audi- | ences. and there was an increase of | $11,792.50 in the box office for that | numbers by Percy Grainger, and the polonaise from Tchalkowsky's “Third Suite,” will feature the concert to be | played at the Capitol tomorrow night by the U. 8. Navy Band, Lieut. Charles Benter, leader. | ‘Tuesday night at the Sylvan Theater | the program will open with the over- ture, “The Lily of Killarney,” by Bene- dict, and will include the rustic suite from “Pique Dame,” by Tschaikowski “Marche Indienne,” from “L'Africaine,” | by Meyerbeer, and excerpts from the musical comedy, “Show Boat,” by Kern. | Notable numbers on the program to | be played at the Navy Yard Wednes- day night are grand scenes from the | opera “Herodias,” Massenet, and Haydn Wood's Southern rhapsody, “Virginia.” | Soloists for the week will be ind- master Louis Goucher, xylophone, and Musician Ralph Ostrom, cornet. t Complete programs ‘The dates for concerts during the current week to be presénted by the United States Army Band, Capt. Wil- liam J. Stannard. leader; Thomas F. Darcy, second leader, are as follows: ‘Tomorrow—Reservation 400, Sherrier place and Macomb street northwest; 7:30 p. ‘Tuesday—Walter Reed General Hos- i pital, 6: p.m. Wednesday—Sylvan Theater, Wash- ursday—Army War College, 6:50 p.m. Priday—United States Capitol, 7:30 pm. Saturday — Tuberculosis Hospital, Fourteenth and Upshur streets north- west. The full programs will be printed in daily issues of The Star. U. S. SOLDIERS’ HOME BAND. The military band at the United States Soldiers’ Home will give the usual three programs in the bandstand Tues- Pliotoplays at Washington Theaters This Week |~ The programs will include the usual ill appear in | daily issues of The Star. | THE U. 8. ARMY BAND. | h’lgrlgn Monument Grounds; 7:30 p.m. | | identical period, covering exactly lhe‘ | same weeks in the Summer. | Municipal Opera’s directors—a group | of 45 civic_spirited business, manufac- turing and financial executives who give their time to that civic enterprise without any pay—sought to find the | reason in an analysis of the box office | fgures. The big increase, both in | numbers and in cash receipts, was in ; | the sale of seats at 25¢ and 50c, classi- fications in Municipal Opera, with its | auditorium seating 10,000, has literal Talkies Create Audiences Musigraphs JDOUARD ALBION, impresario of “ the Washington Opera Co., who won considerable personal prestige as | a baritone in concerts prior to his or- sale of 50c seats and 25c seals Was | ganizing the opera company, appeared nearly doubled as compared to the|in a song recital in Asheville, N. C. weekly average of preceding Summers. | July 11, and achieved a decided Eu That sudden gain in popularity after | cess. He is planning to sing in several 0 successful years combined with the | gther Southern and Southwestern cities | manifest significance of a certain price | pefore returning to Washington. Mrs. range indicated a reason lying entirely | Albion ‘writes that while on this tour outside Municipal Opera’s productions | Mr. Albion is carrying the larger plan | and repertory, for all that they are | for the national aspect of the Wash- | admittedly the best this season in the | ington Opera Co. wherever he appears. opera’s history. ~Within that price| The Asheville Citizen gave the singer range, it was evident, Municipal Opera | an especially cordial review. It said, entered directly into competition with | in part: “Edouard Albion's recital last the big first-run and presentation | night at the Asheville Clubhouse for cinema theaters. Since the end of | Women was well attended and richly | Municipal Opera's last season those | deserved the good house it had. first-run and presentation cinema pal- “The singer completely measured up aces had all gone directly into sound | to the high artistic stature which crit- | icipal Opera plctures. Meanwhile their number had | fcs in various parts of the world had | been increased by the new Fox Theater, | previously praised very lavishly. He | seating 6,000. has a rich, resonant Vvoice, he sings | Moving picture magnates were com- plaining that St. Louis is over s i But seats within the cinema price range which had hitherto been empty at Mu- nicipal Opera were filling up. So Municipal Opera has reached an inevitable conclusion. Within a year | the cinema by training audiences on moving shadows and canned sound have created a new audience which looks for living actors and living sound, for presentation rather than represen- tation in eye and ear entertainment. very naturally and with seemingly ti utmost ease: his placement is perfect, and his feeling for fine shades of sound | is the sort of intuitive thing which one | finds only in musiclans who have a| warm heart as well as a clear head Ray Palkin announces that her resi- dence is now at Apartment 611 in the Chastleton. This active soprano is to broadcast from station WMAL Friday before leaving on_a motor_trip to go through the New England States, with | this week at 5:30 o'clock, under direc- tion of John S. Zimmermann, leader, | | and Anton Pointner, second leader. | combination of light and classical works and will be printed in full in The Eve- ning Star. o |Musical Features Successful In Atlantic City Jubilee ATLANTIC CITY, celebrating its diamond jubilee and the fiftieth | anniversary of Edison's discovery of | | the incandescent bulb, is recording the %reatest season in its history. Music is | a great factor in the celebration. The Steel Pier, following its policy of many | years, offers, in addition to the finest | program . of attractions in its history, | formances of opera in English in the Steel Pler baliroom every Sundn)" evening at 9:15 o'clock and an operatic concert in the afternoon at 3:30 o'clock by noted artists from the foremost opera companies. Mascagni’s “Cavalleria Rusticana” | Amsden, prima donna soprano of the Chicago Civic Opera Co.; Cecil Turrill, prima donna contraito of the Hinshaw Mozart Opera Co.; Mae Mackie, mezzo- will be given tonight, with Elizabeth | a stop in return at Belmar, N. J,, for | 0 weeks at the Columbia Hotel, | Hinshaw Mozart Opera Co. These art- | ists also will give an operatic concert this afternoon. Next Sunday “The Bohemian Girl," by Balfe, will be presented, with Hazel | Huntington, prima donna soprano of | the Hinshaw Mozart Opera Co.; Marie | Stone-Langston, prima_donna contralto | of the Philadelphia Civic Opera Co.: | Harold Hansen, principal tenor of the American Opera Co.; Paul Parks, bari- tone, and Francis Tyler, principal basso | of the Hinshaw Mozart Opera Co. The operas and concerts are included in the general Steel Pier admission. St. Alban's Choir gave s picnic in | honor of the director, Beatrice Seymour Goodwin, at the Summer home of Dr. | and Mrs. Earle Clarke, on the Rhodes | River, recently. It officially closed Miss | Goodwin's seventh year as director of the choir. There were 28 present and many sports were enjoyed, including = | sail down to the bay. On behalf of the choir, Dr. Clarke presented Miss Good- win with & lovely bar pin. Next Sunday Miss Goodwin is leaving for a trip through the Grand Canyon of Arizona, California and the Yosemite Valley. returning East via the Panama ‘anal, An American From La Scala Engaged for Philadelphia| WILLIAM C. HAMMER, [enenl‘r manager of the Philadelphia | Grand Opera Co., announces the en- | gagement of Augusto Ottone, bass, from La Scala Opera. Mr. Ottone, who is an American, re- ceived all of his musical education in America at the Peabody Institute in Mabel L. Kennedy, mezzo-soprano, will ' be the soloist at Concordia Luther- an Church today. She will sing “Oh. | Rest, in the Lord” from “Elijah,” of | Mendelssolin, using the Germen text | for the German service and the English | text for the English. The organ prelude will be the sona tina from the cantata, “Gottes Beii of 7. 8. Bach and the postiude. “*All gro Giusto,” from “Sonata in A Mino! Opus 124, of Schubert. Henry Smidt Gregor has just received | | Baltimore. He has won distinction in | copies of his newest song, fresh from | Italy and Germany. the press of a leading music publishing | | His appearance with the Phila-| house. The title of the song is “Cow- ! delphia Grand Opera Co. in the two|boy’s Requiem.” The verse is written | | soprano of the Pennsylvania Opera Co.; Fernando Bertini, principal tenor of the San Carlo Opera Co., and Leo day. Thursday and Saturday afternoons de Hierapolis, principal baritone of the ' cess abroad. German operas to be Eresented during | the season will mark his first appear- | ance in America since his great suc- by Berton Braley. It is a clever song, written with suggestions of Indian cail and some of the passages given eques- trian color by “trotting” rhythm and Hoot Gibson in 000 singers* before an audience of | 100000 people, unheard-of figures for a2 musician who was accustomed to deal with small orchestras which never exceeded 30 or 40 people. | “On the musicians’ platform,” he wrote of his adventure, “were massed thousands of singers and orchestra players, and I was suppcsed to direct | them. To assure my control over these crowds I had secured the help of 100 sub-conductors, but I could only see those few of them who stocd next to me, and despite repeated rehearsals I could not dream of a really artistic ac- complishment or anything deserving the name of a concert. A canceliation would have meant the risk of my life. Imagine the situation I was in, faced | by a public of 100,000 Americans! There I stood on the central con-, ductor’s tower. A cannon shot goes off suddenly, a tender hint to the 20,000 that they must begin. ‘The Blpie Danube’ is on the program. | Got “Hullabaloe of Noise.” | “I give the sign, my 100 sub-conduc- tors repeat it as quick and best they can, and off goes a hullabaloo of noise, which I shall not forget for the rest of my life. As we had all started about the same time, I concentrated my energies on making us also close at the same moment. Thank goodness! I succeeded. The 100,000 roared applause, and I drew a sigh of relief when I found myself back in the fresh air and felt firm ground under my feet.” To recover from the hardships of his American tour, Strauss withdrew for & while to Baden-Baden for a rest. The Viennese are this year commemo- rating the thirtieth anniversary of Johann _Strauss’ death, and many American lovers of his music have at- tended the concerts and opera perform- | ances undertaken in his name. Among | the former were some attractive open- | air concerts in the Burggarten, a beau- | tiful old park on the Ringstrasse, flank- ing the new wing of the former imperial palece. A grandson of the elder Strauss and nephew of the composer of “The | among the symphonic orchestra did its best to bring out the three-four time with all the original charm intended by the composer, these evenings were a great pleasure,” although for the modern listener ' concert programs of waltzes exclusively are in danger of becoming a little monotonous. Wienerwald Suite Heard. The first concert was especially en- joyable, The unforgettable “Stories From the Wienerwald” were among the numbers played. After the first part Johann Strauss stopped the orchestra for a couple of minutes. and orchestra and audience rose in silent memory of the genius who composed these melodies. With one so closely resembling the grea Strauss standing at the conductor's desk and the fragrance of Spring blos- soms filling the old garden the “siim- mung” would have been perfect if it had not been for camera men making flashlight pictures. Modern technic sometimes kills inspiration. Broke Into Opera When 69. Johann Strauss, whose dances and operettas conquered the globe. long from a feeling of Inferiority. dream was the cpera. Johann_ Strauss had to wait till his sixty-ninth year before he obtained the satisfaction that at least one of his cperettas, “The Bat,” was included in the repertory of the Vienna Opera and thereby raised to the rank of an opera. This happened in October, 1894, durin;: the celebration of the fiftieth anniver- cary of his debut as an artist. Five years before his death the master saw his highest ambition fullfilled. _Years later Felix von Weingartner admitted a second _Strauss operetta, the “Gypsy Baron,” into the Olymps of classic music. Again many years passed, until this season a third work, “Night in_Venice.” was considered Wworthy of the same distinction. The “Night in Venice” was written in 1883 and had its world pre- miere in Berlin. In-Vienna it scored one of the biggest successes on record, but later it was completely forgotten. Erich Woifgang Korngold has dug it out and made a few retouchss and in- sertions. Ernst Marischka has revised the libretto, whose clumsiness was one of the chief reasons why this deserv- ing work vanished from the stage. Some of the greatest luminaries of Vienna were heard in the revival, them Marie Jeritza, of the Metropolitan Opera, s Annina; Hubert Marischka as Caramello: Alfred Jerger, Frau Adele Kern and Frau Jovanovic, the laiter three prominent members-of the Vienna Opera. The first night was a great posthumous triumph for Strauss and a brilliant musioal and social event, jusily considered as the climax of this year's Strauss commemoration. sl with & “dashing” finale. The com- poser’s general admonition at the be- ginning is to present the work “in a harsh and rough style, not too fast.” The words are very good and written with a rhythm that has become best - known in the words of Rudyard Kipling. Katharine Fowler, one of Washing- ton's younger organists who has not been heard in recital here during the | past season due to her having had to take a considerable period of rest, is at- tending the University of Virginia this | Summer, taking some courses. She also plays a half-hour organ recital once & week for the student body and guests. In these recitals Miss Fowler played the more popular classical selections, with one particularly ambitious organ num- ber on each program. The recitals have | been favorably received and well at- tended. On clear nights the vesper services are given in the amphitheatet in the moonlight, otherwise they are given in Cabel Hall. Last Sunday Miss Fowler's recital numbers included “Largo,” by Haendel: “Salut d'Amour,” by Edgar, and ‘Chorale in A Minor,” by Cesar Franck. Conrad Bernier Giv;l Third Concert Todly 'ONRAD BERNIER will give his third organ concert of the series at the Catholic University Summer | School this afternoon at 4 o'clock in Caldwell Hall. | The program will include the follow- ing numbers of ancient noels: Chris- | mas carols—“Or Nous Dittes Marie” and “Une Vuerge Pucelle,” N. Le Begue (1630-1702); “Von Hummel Hoch,” J. Pachelbel (16§3-1703); “In Dulei Ju- bilo,” J. 8. Bach (1658-1750); “Noel Lorrain,” C. D. Aquin (1694-1772). | Crudel Herodes—“Two Verses,” J.| Titelouze (1563-1633); “Fugue,” in five | parts, N. de Grigny (1671-1703). SHed i NIl essF allicss “DON’T worry about our young | people,” Fthel Barrymore said, where she began her transcontinental tour in G. Martinez Sierra's “The King- dom of God” and Lili Hatvany's “The | Love Duel.” “They shed their little fol- | lies as & duck sheds water, and will come through with their colors flying. Our new generation will be bigger, broader and better; not provincial, like the New Yorkers; nor Babbitts, like the Podunkers, but clean, well-rounded, hu- man beings. “The next man I marry will have to| be an Adonis with the intellect of a| Shakespeare. There is nothing new | about companionate marriage. We al- ways married because there was one man we could not live without, men- tally, physically, morally and in every other way. Any one who marries with | less reason ought not to be allowed to live. The cave man did no less. He | dragged his woman from her cave be- cause life was no good without her, and, generally speaking, she felt the same way. Even if she did not want to be puiled out by the hair, she enjoyed the attention, Children are everything in marriage, the parents nothing " Miss Barrymore has one daughter, | during her visit to Colorado Springs, be Sound Enlists Genius. THINK what one sound pictures, may of the modern one great wirtue is being developed by them which cannct be ignored. It is that they are de- manding and must have genius to make them what it is desired they should be. First of all, they are leading the youth of the land from the wild, hila- rious monstrosity of jazz to better music, and in the recent alignment: reported to this end is the engagemen’ of Charles Wakefield Cadman by Wil- liam Fox, under a long-term contract that the Fox sound pictures may hat the benefit of that noted composer{ creative genius and in no less a degret of his musical taste in the makiny of sound piciures of the Fox brand. Charles Wakefield Cadman needs no introduction to even those who know but little of the art and music. His exquisite song, Land of the Sky Blue Water,” is famil- iar to all who can sing. whistle or hum a tune. John McCormack made famous his song, “At Dawning,” and, while Mr. Cadman’s four operas may be familiar only to those who have a higher and more artistic knowledge of music, his poetic and picturesque handling of In- dian themes is yet known to a wider and more popular following. As the artists of the legitimate stage will give to the dialogue of screen pro- duction a higher polish in the English one delights to hear, the music of Cadman and other distinguished com- posers whose services have been en- listed will help to give greater charm to the uttered language of the soul and its sentiments. el SO S Miitis MaleiUst PAUL MUNI, the young stage actor who made his film debut in “The Valiant,” spends days studying and per- fecting the make-up for each of his characterizations. Muni is getting ready to play seven different characters in one picture, to lled “Life’s a Gamble.” The theme is about a wax figure exhibit, and taken from Richard Connell's Saturda Evening Post story, “A Friend of Napo- leon.” In the story seven wax figures | come to life, and Muni will portray each. A mask of Muni’s face is the starting point for each character. Muni builds on this mask with putty, grease paint and crepe hair the character he is con- c.ned with at the moment, and after he has completed it to his satisfaction he makes up his own face to resemble the mask. Ever Seeking Novelfies. AMUSBMENT parks, like all other purveyors of entertainment m: ever be alive to the current and always current demand for novelties. Glen Echo Park, even in the midst of its season, is looking ahead for surprises for next season. Henry C. Baker, amusement park engineer, was a visitor at the park the past week overlooking the things on hand and arranging with the manage- Colleen Moore in p % il concert and opera world and ':he‘fl(hel‘ qulge :?.?Z"“lt"r A;;‘t.hor. oe‘::n.-l Elite ‘Why Be Dark. Dark. Dark. Dark. “The Darger Rider. aqSireera gglli:l. 5:'1'3 d‘o'l; Wfirfi%‘;‘e.t:dmst:g::ei l::'nfi ti;::;;fl::w c}l’}fl,‘"ufifi?&e 1;‘.""9(}1: radio won special popularity Wlm.m‘;, ol vt s e :IB'DI‘OHP; to S = T . . £ ""%';‘” - ::::nl“f;‘:‘:w:';‘l’" with whatever calling they m decue{ beezer.” Just what the beezer may be, mews of prizenghts, transatlantic | * -Ons’ of the mest difficult problems 3 Comeay.. New, Comeds. - MFox Hews. : “off ta By Teally wanted the child to have an'in- | atiraction mext sesson 15 expected o : o i Eddie Dowling Eddle Dowling Clara Bow 1 +Glara Bow In . Olive Borden and Ramon Novarro dividual name of her own,” remarked | furnish conversation until the real flights and the voices of great in promoting musical culture today is in in “The Wild Party. “The Wild Party. Noah Beery_ in *The Pagan: ‘Gentlemen, of the | e rg i ersons of the world speaking at |that of creaiing audiences for musical| Home “The Rainbow Man “The Rainbow Man” Vitaphone subject. Vitaphone subject. “Love in the Desert.’ Oddity reel. ress.” g arrives. gromlnent events all over the uni- | presentations that are not of metro- = Arthur_Lake comedy. Arthur Leke comedy. Cartoon. Cartoon. uome:;v. V;:l. reel. omedy. i ” politan or prominent symphonic qual- 7 om_Mix 75 T itk Ao e 0 e b ringing tne |1} Radio programs have done much | Jesse WAL Mo NI T L oGl bl vson of e alten U7 BEE rrrntl Lo ook popula; }.rk‘x ol nfi‘ng h‘e e “r:’ e pr:; 7 [ Garbo He 1w Foste Conrad Nagel Douglas Fairbanks in c- ele: e Tad_ Nage ] :‘f:gnslta‘;:‘ggsb:m":hr;l:h:;‘: "”ide :;:“n‘:":“:;n"l:’:ee':e’? ?{":'m%"'n :.,, Leader v?:fli%z?;{j"“.{? :fifim}}}‘fié- nnm"'fi‘én:"r?;:_ “wur::m::m.." “Ro-dnl:\. mu:a » '-smunsu':‘-: gadie” DCamudr public to the screen, " Also, these | hatond] niceals i dorloping Ralt S i oy g STUDIOS OF WASHINGTON new sound pictures have made it :.gnw.'m i, . 5 T Edmund_Low, 5 Moore in Louia Jhs, i g soloists’ debuts. 1f | [ o Making ihe Grade,” “Phyllis of the Pol- f . possible for people in small towns | TMC0U " Pledge ourselves to attend at | LIDETtY “Degert. Skyscraper” o lles - a nl 3 = n “ar o Dare.” 4 " # ey . prod':n:tlons to hear the greattion. think what a definite impetus| New . )lnhscgr'csur e Comedy. Screen snapshoty. “Holy Terror. Patpe News. phocies T, Papas Pl Kking iy to raise the|Princess E g o Satan. 3 o SHAE: s well &5 sce them in photoplays. 35, JOtKnE 10, %, %0, fuee, e Prine PR Ness. e B st Teseney Grio T MUSICAL ART Musically, the new sound pictures |jcq 5 jeader in musical appreciation.” Billie Dove s e Alice Day and \Lawrence Gray In, BESSIE N WILD PO nrcheslrall b:lclkz{outng — R B L BoanS Yo chneds, Combds: ateacact. ~_ Vitaphons subject. Summer School Now Open Voice Culture, Piano and M for pictures formerly illustrate: . Fal # A 3 bet soectar © eyttt el SuicgaSyitare, Plano and Harmony musically in many places only by Had to Get 200 Eskimos. wmflem' Ropald Colman in_ olive Borden in | .;-l-“nv;r:-mw' '“-::“ udio 6024, Sth at.. Takoms Fark. D, O. an organ or out-of-tune Cheap |yu/HAT s considered one of the most Comets"™ Gartoon. R Cens | I——— i plano accompaniment. difficult problems ever to confront PIANO PI.A“N_G WALTER T HOLT Several motion picture concerns 'y studio casting ‘Was enced |, Clars in Clara Bow in Jeanne Eagels in -!0,9,-‘:,:: b l:,,h lg)‘{f:‘.w'&l&g!p A!};&W‘h‘%!,fl By . have issued announcements that| prior to the start of production of Takoma “The Wild Party.” “The Wild Party. “The Letter. 3 o . “Quilawed.” Positively Tausht Any Person | g 100t of Mandolin, Gui they are going to do operatic ver- | Lenore Ulric's first starring production, o Myraa oy and Raquel Tores and Raguel Tores and Gary Cooper and IN 20 LESSONS ool of Mandolin, Guitar and ! f the| “Frozen Justice.” Jack Gardner, chief P e tder Richard fueker'in Lilf bamita'in TThe il bamita in {The Thpe Veler in Ban, sionsitn English ot s1ocio casing. irector, and Dave Todd. nis| Tivoll e e, o des o san Tuis Brides of san Luis f "¥or'sene” | SAXOPHONE, BANJO, GUITAR most, popular operas. The idea) St togstner with th force of the ik Tl e our, o Ve el hefl Vuk el Loomeal VIR v | 5 Garint, Tyaiet, it 2t Lhalels, woulgus’&em to hntve (COl;llid:;a&: central bureau, % weeks ! — o ) :g‘%flé ., | “The Younger Gen- | Ensemble practice with the Nordiea Clubs g e e R Lo o8 T ooYak i puanSioa it . BeEamu et — - VitaBooa s e : 24 1801 Columbia Rd. N.W., Col 0846 Are es- | duction, - SRS Piteaione sublsck BaIamouRt- acky - . . - 1 G s W € ¢ ‘Dlota of most of the operss | i Gy T ;. : :