The Washington times., 1920-09-16
V|Q| IN LEADS
|NPHOTOPLAY
Brusiloff Gives AppreciatNe
Reading Of Music Score
in "Humoresque."
J. Mach.

The violin Is being immortslized
this week in the realm OF the silent
drama. No single composition TOT
the violin has ever gained broader
popularity, In the best sense OF the
word, than Dvorak's beautiful "Hu-
moresaue" that Fannie Hurst has
| used as the motive for her story
| which has been made into a photoplay
and will be continued for it's third
consecutive week at Loew's Columbia
| Theater next week.
Leon RrusiIoff, the violinist-dire
| OF the Columbia Orchestra, gives a
very appreciative reading to the
| music score OF the photoplay, "Hu-
moresque." He also plays the beau
| tiful composition as an Introductory
violin solo, proving that this young
| conductor has double claim to the
musicianship his directing indicates.
The music score OF "Humoresque"
whose story deals with life and
musical genius in New York's Ghetto
Is n faithful picture in itself OF the
| drama. For the music is from the
very heart of the Jewish race, and
as the drama says, it's history has been
filled with the laughter and the tears
that lie so close together in Dvorak's
beautiful music.
THE DhAmA IN MtSIS.
The old national Hebrew chant
ELI. ELL" given as a base-baritone
solo by Irving Jackson. of New York.
Immediately creates the atmosphere
| OF the play making one realize more
| deeply the faith that holds the
| mothers heart, ever full OF courage
and OF hope.
And then Dvoraks "Humoresque"
begins its appeal. filling the thoughts
and the actions of the silent players.
| II one knows the Jewish traditional
| music the drama becomes more elo-
quent. There is the impressive "Kol
Nidre." then that lovely Hebrew
Melody. the old hymn arranged by
Achron that has been made famous by
Jascha Heifetz.
1t was Ernst Luz who, as they say
in Movieland, "cued" the picture with
the incidental music in this Para
mount picture. Mr.. Luz is also COM
poser OF the lifting and tuneful
melody Il have a rendezvous with
you" that brings a less serious mood
into the music and also that dramatic
contrast that the musician knows is
so important. II one holds the in
terest of an audience for three hours
| r. LEON BRUsILOFF.
| 1t is particularly fitting that a
young violinist in Washington should
be intrusted with the music message
of this film-play. Leon B-usiloffs
leadership Is instinct with the life and
finer qualities of the music he brings
, from his players. He shows In his
directing that he knows his music
literature. and that he feels the emo
tion Of the music he portrays.
That was the acquaintance one felt
from the audience. 1t is gratifying
to know that this young Washington
musician, who is now but twenty-one,
was a scholarship lad at the Peabody
Conservatory Of Music in Baltimore.
where he studied conducting under
Gustav Strube.
When he puts down the violin and
leaves the lovely strains Of tho
Humoresque to his concert master,
transition that is noticeably we'll sus-
tained, it is doubly interesting to
know that the melody is taken up by
another gifted lad, Nathan Brusiloff,
the sixteen-year brother of the
director.
The Brusiloff family are all a
family Of musicians. and of orchestra
conductors. who have gained promi-
nence in that very exacting field of
the musician which requires both
musicianship and personality.
Nicolai Sokolof. conductor Of the
Cleveland Symphony Orchestra Is a
cousin. An uncle is conductor of a
large orchestra in Cairo. Egypt.
Leon Brusiloff began his orchestral
experience with the Baltimore Sym
phony Orchestra, when he was sixteen
years old. He Is interested in the in
terpretations he gives. That means
that he will search out tn cir meaning.
to give life to the pictures and also
to bring the beauty and meaning of