The Birmingham age-herald., 1923-09-02

For some weeks "The Artist Course" of the Birmingham ML sic Btudy club has been whispered about, but today, elsewhere in this paper, the first official announcement is made. Truly, it bespeaks the mar vicious growth and development of the club Gan you imagine more wonderful and inspiring series Of concerts? The season will open No venber with the Duncan dancers and Alberto Salvi.
 The Duncan Dancers, Anna, Lisa and Marge Duncan, are termed the worlds most beautiful dancing trio. They were, but are no longer, pupils of Isadora Duncan. Since their eX- treme youth the three devoted their lives to study under Isadora Dun can. During that time they gave all their effort for the thorough mastering of the difficult and m volved technique which forms the basis of the Duncan art, For the past three years they have been standing alone, have been develop Ing their own art as thing In lt- self fusing the principles of thelr teacher with their own lndlVluual conceptions and are now proceeding ss unit to the development of an artistic force which is recognized Rs the farthest advance of the Dun, can art In this work the three Slrls have been aided by the happy com cidence of their contrasted natures Anna may be termed the cerebral, JIsa the emotional, and Marge the spiritual the three thus forming an Ideal combination with the develop of the Duncan art, music LOOK ltS appointed place in the world ol dance Prior to this, music was the slave of the dance. It's rhythm form, often it's thematic materlal, were governed by the exigencles or artificial dance figures. In the res toration, however, of music to us proper relationship to danclng- making 1t the source or lnspl, isido1 SIion Instead of the enslsVed handnaluen the dancer becomes an interpreIeE and. music is allowed to run an lIl- restricted and unhampered Way Then with no requirement placed on Inc music except that it be lbeauutu4' tba classics form the basis of the nrorranls of the Duncan Dancers ssnd Schubert, Chuck, Mozart, Cho- pin and Brahms, provide the majority eof their numbers. ,
 All of us remember Alberto SalVl the wizard of the Harp" Never was ..au artist a greater revelation to his a{ldience. Just before the concert last winter such comments as the follow ing were heard: "Oh, yes, l Ike the harp; it's fine for accompanlments or in the orchestra but l can't lm- agine a whole concert" or one or two members are all right, If they had a singer, too" Then the cur tain went up. and Salvi as he came forward to the front of the stage where his golden harp awaited nm, seemed only a boy, with the sun shine and smile of Italy In his eyes. There was a hush, moment or ex- pectation, and then came. muslc- music such few of us have ever over. Salvi had won his audience, and he held them spell-bound throughout the evening. To this day recall that delicately beautiful The Foun- tain" by Debussy. It brought to mind picture of the fountains at play at Versailles, and you could almost feel and hear the spray of the water In some of his bigger numbers he displayed almost "superhuman teen nfque." He has discovered new ef- fects and undreamed-of beauties in the harp Furthermore, he possesses in the words of critics. the power to make his audience forget harp ana harpist and to think \of great or ehestras, multitudes of voices ana great tragedies, so broad and sweep ing are his masterful interpreta-
 The St. Louis symphony or chestra. Rudolph Gang, conductor, needs no introduction to Birmingham audiences. Under the baton of MT. Ganz the orchestra plays as unit inspired sharing in the sympathy, the understanding, the superb mu- sicianship and the high faith of that fine artists. During the evening MT. Gang will yield the baton to ms aS- sistant conductor, Frederick Fischer and play a piano concerto With the orchestra; this making the concert doubly attractive.
 Sigrid negin, contralto, Metro politan opera house. has created a sensation, wherever she has sung She has one of the most glorious contralto voices of the generation. It has every beauty-warmth, richness, depth. carrying power, sympathy elasticity, volume, range-and to this add looks and a charming personality and you have Mime. Onegin.
 Erika Morini, despite the fact, that she is just IS years of age, is the worlds greatest woman Violinlst. .She was solo:st last season with the New York symphony and Philhar- monic orchestras. The critics united in their prairae-marveled at her breadth and maturity of interpreta- tion That has always been the l great wonder of her-that child for she is nothing more-can speak to men and women as one who Knows Her wisdom is unfathomable, "a child with a woman's soul. Maud Powell's violin, bequeathed by that great American violinist to the first woman violinist who showed the unmistakable stamp of genius, was ! awarded to Morini after her fourth concert.
 , A very interesting story is told of her appearance as soloiSt with the Philharmonic orchestra last winter. The great Bodanzley was conduct ing. It was at the time of rehearsal. When the little girl came in he looked at her. Something in that look--not eritical-not unkind, but perhaps just a little unbelieving, struck straight home to the soul of the girl. Something in her ruse in pride and defense of the genius that i.is hers. She was not child to frighten. She was a mother defend ing her gift NOW just for that" she phrased it to herself-'I play better than ever" She stood there a child-alone and unafraid She closed her eyes And then she played to her own soul the music that was in her heart. She was blind to every thing in the world but the master