The Washington times., 1918-04-11

work OF all sociological enterprises
today.
with an intimate understanding OF
peoples Mr.. Rabinoff aided in this
work of recreation. and this is the
way 1t was done. They could not get
the people to come TO a concert or
lecture. so they compromised. A free
evenings entertainment was given.
First, a short and good concert. fol-
lowed by a very short lecture, and, as
the drawing card, a dance that was
only open TO those who had been pres
ent nt'throughout the entire evening.
Gradually the concert was shorten
ed, the lecture heightened and the
dance made small concluding at
traction. At-last IL became possible to
get those people to an educational lee
ture or to a real concert without the
lure OF the dance at all.
Social psychology? Yes. And out
OF that ghetto three musicians OF fame
have come: George Chapiro. who is
leader OF one of the five. orchertras in
London, England, and who first work.
ed under Sir Henry Wood: I. Levin, a
pianist, and Szukowski, a prominent
artist pupil OF the celebrated violin
teacher, Sevcik.
Rise of Russian Music.
Afr. Rabinoff spoke OF the sudden
rise OF the modern Russian music and
its quick and complete expression in
its opera and its baIlets. And out OF
what did this new national school
come? II was created by men who
were already established in profess
sional careers. It was as though
suddenly the spring Of the national
Consciousness was touched, and 10.
out OF the brains OF three men, three
professional men, there sprang into
being the modern national school of
music of Russia.
The ballet in Russia Is the concept
of one brain-the scene painter! A
startling avowaI. but Mr.. Rabinoff
made IL. 4 great Russian artist has
just come TO America, his works will
be exhibited in New York next season,
and he it is who, was one OF the chief
inspirations OF the Ballet Russo as IL
comes to us.
His name is Boris Anisfeld. Mr..
Rabinon says he is called the Michael
Angelo OF Russia We will see his
pictures because. when he prepared to
get out OF Russia not long since. he
went to one OF the large galleries
where his works were hung and cut
out OF the frames more than a score
OF his canvasses, rolled them up, and
brought them with him. Opera houses
in Russia are destroyed. art galleries
are destroyed by the shell of the Zep-
pelins, but Boris Anisfeld has rescued
some little of the painting that stands
for modern Russia that we are learn
ing to know and to understand.
Anisfeld Is the diScoverer OF the
hambuoyant blue and green that, put
side by side, is SO vitala factor in the
lurid stage pictures of the Russian
ballet. He first created the ballet of
Scheherezade, for in the brain OF the
artist the whole thing was born.
Sadko. that ballet OF the under-sea
life, is his. One might even say that
lie, with Bakst, who impersonates the
whole school to the American mind.
and Fokine. who turned the music of
Chopin into Les SylphideS," had ere.
sted the art of PaYlowa- This was an
idea put forth by Mr.. Rabinont. The
masterpiece Is handed. complete, to
the dancer to create anew. After the
idea is born they call upon Terpsich-
ore to give It life.
Doesn't Believe In Translation.
Mr.. Rabinofr does not believe in
translated opera for the cause OF
opera in English. he rather prefers
the slowly growing native product OF
England and America. But when ne
was asked to let the writer hear Iust
the Tilt and music OF his native tongue,
he quoted a Shakespeare passage in
Russian-and to ears that did NJ: un-
derstand. 1t sounded very vocal, fun
OF the vowels that are singable. The
Russian language, he said, is an easy
one for the singer.
Like the Russian artist who sees
the ballet "whole,' Mr.. Rabinon
dreams of a time when the world may
again be ready and more eager than
ever TO receive and acknowledge an
art work complete in al "details. And
meanwhile lie keeps his vision alive
and in preparation for the dawn OF
that new day.
1--WE must settle the war. and then
we can reconstruct ouI art. as we