New-York tribune., 1921-01-02

open to the public and have been given
with great success, the special audi
ences composed of workmen, clerks and
other employees often showing remark
able enthusiasm.
During the seasons Of 1913 and
1919 there we're few symphony con-
certs. There was only one Skryabin
cycle at Petrograd, held under the d.
rection of Kousscvi.shy. Chamber
music and intimate concerts were in
the priority, with q marked tendency
in the programs toward tho classics
and the works of the old masters. At
one series Of evening concerts all the
chamber music of Brahms was given.
At the conservatory there was cycle
Of Bach, then one Of Mozart, and the
success of each was great. This fact
was significant: There was general
turning of exhausted minds from the
modern composers, even from the ro-
manticists to the peace Of an art calnler.
more sedate, moro readily understood.
The success Of concerts OF organ and re-
ligious music has been on the same
plane. The most interesting or these
were given at the English church bv NJ.
zilotti. Bach, Handel and GABRIEL
were represented on the programs.
The most frequently heard music by
Russian composer was from the works
o. the neo-classicist GlazounoF.
"The winter season Of 1920 was
particularly brilliant one in Moscow,
where the ommisaariat Of Education
organized a grand series of symphonic
concerts. The season in potrograd was
OF much less Importance. Nothing
rcw was given at the Opera in either
city. The repertoire remained the
same as before the rcvolution-the
repertoire Of Chaliapine. There was
hut one premiere at Petrograd-
vinsky's Nightingale with settings
by Golovine. The season of ballet was
brilliant, but there were no nov
elites, Invariably Glazounoff's Cray
monde" and Tschaikowsky's Lake of
Swans" and Sleeping Beauty"
"The Bolshevik revolution has been
as thorough-goi in the domain Of
music as in that Of social reorganiza-
ton. Teaching has undergone q total
reform. Music schools are devoting
themselves to developing -profes-
sional artists, cultivated amateurs
rather than executants.
an appearance musical lie is -four
ishing In Moscow, but in reality the
condition OF artists is precarious
Those not fortunate enough to obtain
by chance or tact teaching positions in
state schools are literally dying of
hunger
Moscow WAS recently stirred by the
rews Of Koussevitsky's escape across
the frontier of Finland, for he had re-
ceived fatterng treatment at the
hands Of the Soviet government and
had been considered one Of its stanch-
est supporters. This privileged posi-
ton, however, did not prevent him
from seeking happier shores at the
earliest available opportunity.
up to the present time it seems
that the Russian Soviet has produced
few young composers Of talent or
temperament. But there is one excep-
ton, Nicholas Roslavietz, who began
to make himself talked about in 1914
at the outbreak Of the war. and who is
now celebrated in Russia. Even his
first compositions, particularly his
impress ionistic songs based on the
poems OF Paul Verlaine, bear traces
Of strong individuality.
His impressionism is not that of
harmonic nuances. of those orchestral
tinbres which arc 80 soon forgotten,
but the tmprcssionsm Of line and me-
lodic design.
III he has felt the influence Of thu
great masters OF modern music, De-
busy and Stravinsky, he has not sac
rihced his individuality. In his adml-
ration for these composers he has not.
like most Of the younger composers,
obllterated his own personality"
Earbey's Settings for Malipiero's Opera
A French correspondent describes
the settings by Waldo Barley provid-
ed for the Sept Chansons" by Mali
piero given last summer at the
Paris Opera. The italian composers