The Washington times. [volume] (Washington [D.C.]) 1902-1939, 1919-05-15
BY J. Mach.


found. Think what it means to so
desire complete transcriptions OF or
chestral scores. that one musician
has actually cut" as he calls it
and cut by handsome eighty to
ninety player-piano records, Tor his
personal use alone.
When asked how many rolls he had
cut" Carl Theodore Arlt replied:
"Oh. about three miles" Nor was
that banter. The estimate brings the
fact nearer ones appreciation OF
what this labor of love has been.
Mr. Arlt is a musician by avocatton,
skilled engraver by profession
that is how his hands are so trained
that they can do this delicate music
work. where each fraction of an inch
must be correct for the right tone.
Mr.. Arlt has come 10 Washington,
from Philadelphia, as an engraHer in
the United States Government Bu-
reau of Engraving and Printing.
Also, Mr.. Arlt is a Wagner enthusi-
asst. His absolute passion for the
great wagnerisn symphonic music
has awakened what one might call
"Musico- Genius"
Christian" Was First Attempt.
What started you doing this?" was
asked.
You see." he answered. 81 want
ed Tristan the complete Tristan. 1
had bought a pianola and had expert
mented with the records in the mat
ter of Interpretation, but in repeated
hearings Of the opera I heard many
things that were not registered in
my rolls.
"One day I came across a book on
Wagner, in which five measures were
reproduced from the orchestral score.
to emphasize its teachings. Just to
see IL l could, l took the end Of an
old roll, and figuring out a method
according to the rules we use for en-
graving-I cut these five measures.
using my own judgment as to the
distribution of the instruments in the
piano keyboard. And when 1 put IT
on the player!
You don't know the joy of hearing
it, after you have done the work
yourself"
"Ten fingers couldn't do it," some
one exclaimed.
Twenty fingers couldn't! That's the
beauty OF it. If just hreezes along
like an orchestra" Mr.. Arts en-
| thusiasm is contagious.
Now Has Miles Of Rolls.
1t was from that revelation Of what
he, personally, could do to retain the
wealth OF the orchestra. that started
Carl Arlt toward his three-miles of
music, that he plays on a Steinway
grand piano with an Aeolian pianola
attachment.
1t is his musicianship and judg-
ment in adaptation Of the score that
has produced marVelously accurate
records, that have an amazing sense
OF figures in music, of characteristic
syncopations and peculiar rhythms, OF
full orchestral sweeps-as he terms
1t with orchestral pep"
The accuracy OF phrase, the nicely
in harmony arrangement. in chro-
matte change with which Wagner is
so rich: the brilliant metallic pas
sages for horns-are all in his tran
scriptions.
You can just hear that hot Glis-
ten" Mr.. Arlt interpolated. 1t was
a great sunrise out OF Wagner's
Ring"
And listen to the irony of this"
Mr. Arlt was playing the. "Isolde's
Narrative" that ends with her curse,
given with furioso tempo. 1t is just
that faithfulness to the vitality and
the variety Of the orchestratiOn that
this young artist has so astonishingly
retained
Is Rolls in One Score.
Mr.. Arlt has created for himself
the entire score Of Tristan and Is
oIde." 1t comprises IS rolls. That
alone is a monumental work. The
| art OF his handling, too, is Of course
much in the Interpretation. In the
second act, the torch scene" one
feels Isolde's perturbation and the
haste. There were great crescendos.
and remarkable passages OF the small
| figures of all the instruments.
Wagner motifs sing out against
rich backgrounds of sound.
Then he has cut" just 20 per cent
Of the "NibeIungen Ring Think Of
lit!
He played the wonderful "Wotan's
Farewell from the last act OF Die
Walkure." The reminiscent love mo-
tff' and "Brunhilde's sleep" he held
| soft. keeping the melodic phrase well
above the intricate orchestral effects.
The transitions were exquisite and
were also perfect in scheme.
There was also the Fire Music
dcftIy handled. delightfully."- sugges-
tive. and at such a tempo!
THE Ride is not successful, be-
cause" and then Mr.. Arlt gave the
constructive reason why this was the
least effective Of his adaptations.
He has. however. retained the COun-
ter themes n a great finale TO Got
terdammprung." Crane, the horse, is
there with tonc-COlOr to suit the
theme; Brunhilde's famous cry, the
"Yo no, to Ho.' and the love themes
with the Eternal sleep" Just as in
the opera, it resolves itself to quiet
close of utter repose, the Nirvana Of
| the gods.
"CuttinE" Score for Two Pianos
In this unique private library Of