The San Francisco call., 1910-07-17

may be far prouder
Iravato'S Words Without Song
pick my airs where no other darss-
From Mendelssohn Verdi and Bach
And stir them around with the rag time sound
Of tunes that would seem to mock.
The songs Of the street and the songs Of the
sweet
Thrill from my bow and string
There was never a note that bssgsr wrots
Ny fiddle refused to sing.
While others play in the tone Of
Or lag in the clef OF @,
It's all because of their native flaws
They lack personality.
Not with In supreme degree
The scale do defy:
take tone that is all my own
play but in major l.
Travato, the fiddler, barred his arms.
They were as fit as his fiddle. If those
arms had been in Reno there might
have been some hope for the whits
race.
There is the secret of 1t ALL" he
said, ''in these arms-see the muscles?'
Travato's skin answers much the
same purpose that Salome dancers
draperies dot leaves little to the
imagination when Travato moves his
fingers and the agile, impatient muscles
far up the upper arm jump into action,
So this is to be all the philosophy
that is to come from the man who can
we'd the wanton liberty of MY Wife's
Gone to the Country with the passion
ate wistfulness OF the prison scene
from I'll Trovatore".
The fine play OF muscles under the
skin was the only philosophy that
Signor Antonio Travato knew?
No. walt moment He has to get
into red bathrobe. and under its be-
nign influences there is more to be
said on the subject of tying all sorts
and conditions of music together with
the four strings OF his violin, or rather
with eight strings. for he uses two
instruments in relays. Zone is los and
the other s5 years old-which is about
the time violin reaches its majority,
believe. and is permitted to vote in
the direct primary of art.)
No. the secret Of it IS not so much
the muscles-though they have to be
kept supple and In condition-it Is not
so much the physical strength of the
man as it is his cosmopolitan musical
appreciation
II have under my control" declared
Travato, "all kinds of music; I am the
master of music of all nationalities. T
played six weeks at Hammerstein's last
summers on the roof; hold the record
for 80 minutes
But what is the theory of your med
leys, of your programs-are you seek
ing through them to epitomize the
spirit OF vaudevilleg' 1t was a. natural
question to put to the man who throws
the Muscle Dance" my Old Ken
tucky Home" and Believe Me with
All Those Endearing Young Charms
into the orpheum pit and smiles as
they boil over on the audience.
MY program" repeated Travato. aTs
all in my personality-any one else
could take the same program and thers
would be no hit. 1t Is my peculiar
personality"
The muscles were hidden in the red
sleeves.
But in the arrangement OF your se-
lections as you play them-fs not that
made to express some particular idea?~
Travato, the humorous, was touched.
No. I just butt in any tune that
comes into my head. Now I worked in
two new ones on the orchestra this aft
ernoon- I fool the orchestra as wei
as the audience SO soon as I think the
orchestra knows what I am going TO
play next, then don't play it, play
something else. 1t Is catch as catch
can when play the medley. so alons.
playing one tune-then-Bingo- on
another-there's great excitement for
the orchestra
Poor Herr Rosner. playing through
his table cloth on the organ keyboard.
Bingo-there must be excitement In the
orchestra Imagine Rosner lingering
his organ table cloth IN the effect OF a
suppe overture suddenly to hnd that
the man on the stage is Willing away
/ the tempo with Has Anybody Here
Seen KeIIy?''
But it comes natural TO me-" mod
estly suggested Travato in extenuation
/ of his upraisings.
This agile musician OF the Orpheum
stage is a composerAs we'll He has
rag time piece almost ready for con-
sumption
Il think 1 will change its name to-
the Panama'-what are you going to
have here2~
"Panama-Pacifc international expo