The sun., 1916-04-16


montov II was produced here by the
Russian symphony Orchestra on Feb
ruary l3. 1908. II made no impression
at all except one Of depressing monot-
ony.
But considering how much effort
has been expended on making the
music special feature of the hallets.
1t is interesting to note how oblivious
to II most Of the general audiences
seem to be. II seems almost certain that
most Of the people sitting at these per
formances regard the music in muca
the same wav as uncultivated concert
gOers regard the piano part OF Il Schu
her; song. II is merely an accompan-
ment.
Al every ballet performance, previous
to the opening of the curtains. what
evei music may be played. little attcn-
ton IL accorded IL. Talking. loud and
incessant, can he heard in various
parts OF the house. Indeed there is
much talking while the action is in
progress. Some of the lovers of bal-
let apparently do no, care TO hear IL"
music at any time.
Those who do think about this music
at all regret that so few ~ the hallr;s
are provided with specially composed
scores. LES Sylphides." Carnival"
"Scheheraznde. '"Thnmar." lie Spec
tire de la Rose" and "Cleopatre" are
mus.cally adaptations. In the case cf
"Scheherazade" the story which has
been invented to accompany Rlmsky-
Korsakov's music has a very distant
relation to that which the composer
la ,,,
was writing about Sindbad. to whom
no reference whatever is made in the
ballet. In fact the story of tn. bale;
Is a prologue to the entire Arabian
/ Nights. Even Scheheraznde herself
does not appear In II.
The most symmetrical art works
thus far produced by the Ballet Russ
| are the two for which Stravlnsky COM
posed music. Even in these the con-
| nection between the score and ,ht
action Is not always close. In Pa
trouchka" particularly there are some
very bald spots where every one on
the stage wanders about aimlessly
waiting for the music to reach the
point at which the action may again
take up its march. Much has been
told us about the marvellous genius
OF Mr. Nijinsky. II Is strange that
1t does not prove itself equal TO tbs
simple task of devising some little illu-
sion for these halting places.
II is great pity that every person
who attends the ballet does not make
point OF listening attentively to Stra-
vinskys music. Naturally there are
obvious bits which do not easily escape
any one, notice. The music Of the
hand organs. for example. and the
, delightful trumpet travesty Of the
| scene between the Moor and the
Ballerine must catch the ear OF the
most casual listener.
But there are 80 many touches of
fine humor and fancy in the rest II
the score that one who does not hear
everything misses half the pleasure
OF the entertainment. Meanwhile the
| season has been enlivened by the ar
rival OF E!j:nsiy. whose ar. will court
! further study on the part Of lovers of
poetry and rhythm in dancing.
Two choral concerts in one week are
large. number for New York. The
, Columbia University chorus on Tues
day evening brought to first perform
! ance THE Peace Pipe" OF Frederick
Converse and "The Black knight" of
Sir Edward Elgar. The Oratorio So
ciety gave last evening Brahms's
Song Of Fate" and Haydn's "Crea-
| tion." Of which something Is said else
where In this paper,
The study Of choral works Is one OF
the best methods OF cuftivating a love
for good music. A vast amount of
nonsense Is written about "educa-
tionaT musical schemes We are told
with profound solemnity about the
educational" influence Of opera. The
cold fact is that habitual attendance
at operate performances educates one
to like opera, and that In all II does
not teach one to love other good music
but quite the contrary. Very few Of
the vast body Of operagoers In this
town patronize the best concerts and
recitals. These entertainments are not
sufficiently sensational or spectacular
to interest the habItual operagoer.
But for that large army OF persons
without the inclination or perhaps the
means to become habitual operaeoers
the delightful field Of choral music is
open, Those who cannot sing can be
hearers. Those who have fairly good
voices and can read music can become
members of some one OF the numer-
Gus choral organizations. For these
people there Is a continual pleasure in
the study OF such masterpieces az the
| two given last night by the Oratorio
Society and others Of equal importance