The Washington times., 1919-09-18

Gauthier, in costume recital; Leo Orn-
stein, who delighted last season with
his really legitimate art Of the piano
when we were led to expect the ex-
otic; and Louis Graveure, that rare
and delightful "diseur" in song.
Mary Kent, contralto, Nina Tarasova
in Russian folk songs, and Cornelius
Van Vliet will be new artists to
Washington.
Foremost sOIO Artists Of World.
Solo artists with the orchestra pre-
sent the foremost artists Of the world.
One of the most novel features Of
these concerts will be the three
piano Bach concerto with Olga. Sam
arohr, Harold Bauer. and Ossip Gabril-
owitsch at the pianos, and the Phtla-
delphia Orchestra.
II was a significant stride forward
in music. made by Jessie Heitmuller
with his symphony orchestra at
Crandalrs Metropolitan Theater last
week, when two movements OF stand
ard symphonies were played on his
program.
To the lover of music Il meant
much to hear so worthwhile an in
depreciation Of the slow movement
from Schubert'S Unfinished Sym
phony." often now Mr.. Heitmuller
has people OF the audience come to
him to ask what certain music is,
that he has inserted into the picture
music setting. He also has letters
requesting certain overtures. The
Movie" orchestra is beyond doubt
creating a larger. audience for con-
certs OF the future.
The picture-lt was "a Perfect
Lover" recounting the struggles sur
rounding the pathway OF an artists
life-was brought to its climax with
the fateful strains Of the andante
from Beethoven's Fifth. Symphony.
True, these great symphonic works
were designed to be sufficient unto
themBelves-as they are with a far
greater greatness-and some may re-
sent their transition into mere incl
dental music to emphasize a drama.
Works Both ways.
Yet the argument works both ways.
for what we know in music we are apt
to cherish. Thus putting the best into
the silent drama is spreading the gosz
pei Of good music, and the slogan
should surely be: let the good work
go on"
Henry Sokolove was playing an ap-
pealing violin solo for overture. This
week the overture is a cello solo with
string orchestra, With T. Mems as So
Ioist. He Is playing the Venetian
Love Song" from the Nevin suite, "a
Day in Venice"
And the incidental music this week
with Nazimova in the screen version
Of THE Brat" includes the Tschaikow-
sky Romance in F." Rubinstein'B
''WaHz Caprice" and La Source" by
Delibes.
A new field for composers is being
created BY the movies. Composers Of
real merit are furnishing special mu-
sic for definite scenes In the silent
drama. Such, for instance, is a''mys-
terry selection" or a blithe and whim-
sical dance such as the Dance Of
the Pumpkins" by Lake, a movie
composer"
Gerard Tonning is we'll known in
this realm. He has written an at
tractiVe Flower Suite" that meets
demands OF the drama. Incidentally
The Brat" has had a special song
written for IL that is sometimes sung
with the screen version. And so the
music develops with the movies. Cas-
ton Borch, pupil Of Heinrich Hammer.
Of this city, has become a standard
writer for these tiny scenic or tenn
peramental excerpts that make a
symphonic program one OF musical
worth where concerts are brought to
the vastest American public. That
public will soon refuse the midiocre
in music, both in quality and in rem
ditfon. II has much to do with the
future OF music In America