Evening star. [volume] (Washington, D.C.) 1854-1972, 1927-08-14
M ELODY is the spark that
M gives lasting life to any
W. musical composition. No

- matter how mechanically
original or how technically admlra-
bic a work, unless it has that in
trinsic beauty--that is. melody-the
work cannot live in the hearts of the
people. After all, that is the hna
test. The works of the greatest mas
tiers OF music which are heard most
frequently are those which have
mclodic value. Even the most critical
of musicians when attending a con-
cert where some rarely heard work
of master composer is played have
been heard many times TO remark as
they 60 away at the end of the pro-
gram, We'll. don't wonder that
that work is heard so rarely; IT
doesn't seem to have anything to II
that one would want to remember"
Even in the world of popular
music, Jazz, in particular. is begin
ming to feel the pinch of the lack of
melodic freshness i'll the newest pro-
auctions that are called hits" With
in the last few weeks in local motion
picture theaters several leading jazz
orchestras have been heard, organi-
cations which have held the lead in
this type of music presentation for
several seasons. The members play
with Just as much activity and va
riety of novelty noise interpretations
as previously; they act just as
"peppy' as they play; the leaders
undeniably have personality, vet that
something that was sparkle is
gone. The Jazz sounds fiat. The
reason is lack of melody. The little
instrumental tricks that attracted
when new are stale. The newest
songs with the crazy titles. such as
"Red Lips Kiss My Blues Away or
"Just Like Butterfly" the latter
sung with masculine vocal outlining
of what tune there is. do not have
that fascinating quality that is orig
inal, we'll knit melody 1t was sig
nificant that the hit of the most re-
cent of these organizations - Jan
CARRIERS group at the Palaee-was a
burlesque on the playing of stirring
old melody by a German band. with
an unusually gifted musician-cl
giving a caricature of a fat band
leader. This number won storms of
applause On the other hand, the
usual Jazz tricks by horn players,
drummer, etc. in typical jazz selec-
tions won only scattering apprecia-
tion from large and apparently at
tentive audience.
Jazz needs real melody. and needs
it badly at the present time, for no
music. not even jazz. can stand still;
it must either progress and develop
or go backward. Where that former
chit" Eyes, We Have No Bananas"
according to the analysis made by
Sigmund Spaeth, trespassed upon the
,nelodie content of Handel's famous
"Halleiujah Chorus" the musical
comedy, Hit the Deck" which seems
to be having excellent success in
New York. is supplying jazz orches-
tras with another "Hallelujah," very
Inelodie. yet so simple in its melodic
design that already there are those
who are firing of it.
y 4
The motion picture theaters are
dong quite little experimentation
work along new lines in musical set
sings or entertainments on their pro-
grams. Some OF them are particularly
admirable Among the most pre-
aentsons and also successful of these
efforts Is the Moon Magic" episode
shat was shown last week at the
Palace Theater. In this, Dorothy
Wilson Halbach, one of the most
promising of young Washington
singers, was featured. Mrs. Halbach,
who is in the early days of her
"twenties" has a particularly lovely
quality of voice that also is apparent
ly receiving very good training. She
has sung on number of occasions
within the past two years. She seems
to be constantly gaining in control
of the essentials that make for good
singing and to be constantly develop
ing in style. In the garb of an Amer
lean Indian maiden she stands. poised
apparently on high peak in a SET
ting that is beautiful reproduction
of American mountain country of the
Far West. Preceding Mrs. Halbach's
own scene. some lovely views of
Western mountains, streams and
cloud-garlanded peaks were shown.
Then. the scenes melt skillfully into
the colored setting. The young con-
tralto lifts her voice in Charles
Wakefield Cadman's song of poign-
ancy and prophecy;-"-The Moon
Drops Low" 1t is most effective.
The same American composers bet
ter known AT Dawning," also with
an Indian theme, is the singers other
number. Both songs were we'll
phrased. the enunciation was excel
lent and the general effect was one
of careful, well prepared production.
The orchestra under Mr.. Cannon
showed fine support for the singer.
never drowning her voice. and the
audience showed appreciative atten-
ton to the whole episode. This is
the sort of well gotten up oppor-
tunity for local talent that Wash
ington theaters should provide in
true cooperative spirit for those who
have real talent and willingness to
work.
Other unusual musical efforts in
local motion picture houses recently
were shown both at the Rialto and
Little Theaters. In both instances, by
odd coincidence, Rachmaninoff's
familiar prelude in { Sharp Minor"
was chosen as the musical vehicle
In the former house, Rex Rommei,
the skillful pianist and leader of the
Rialto Orchestra, presented his own
arrangement for the prelude, with
orchestration in syncopated effects.
AT the Little Thcater the idea of
adapting musical score to film was
reversed and a short reel film was
artistically presented which was
fitted in theme to the impression one
writer received of the Rachmaninoff
prelude. A well known Edgar Allen
Poe short story was used in the film.
X II