Evening star. [volume] (Washington, D.C.) 1854-1972, 1928-09-16
M y SIG
BY HELEN FETTER.

composition with such unusual re-
quirements is Mahler's symphony
No. g." which, In the last move
ment. requires a full orchestra,
chorus. organ SolOiStS, and a
small orchestra back stage. 1t is
in the conducting of the second
orchestra, which will be hidden
from view, that the televiSion will
be utilized.
Previously, in conducting this
work, Mr.. Reiner has had an as
sistant conductor stationed behind
wall with hole cut in 1T so the
assistant could observe Mr..
Reiner's directions, while himself
being unobServed. With the tele-
vision, Mr.. Reiner will have his
picture, movements, time and
placement thrown on a screen
where the second orchestra men
can see it, though themselves un-
seen. and thus they will be able
to keep exactly with the larger
orchestra and use Mr.. Reiner'S di-
rectionS with no intermediary to
cause even the fraction OF a mo-
ments delay.
This is extremely interesting
and shows another of the almost
amazing number of mechanical
devices that are practically useful
in assisting musical and even
dramatic entertainment for the
public.
WITHIN the past week Wash
w ingtonianS had opportunity to
hear the first "all talking" motion
picture, 1.-The Lights of New York"
The use of Vitaphone and
Movietone in making audible mo-
ton pictures has aroused many
enthusiastic adherents to the idea
of movies" that are "talkies."
The experiments also have
aroused considerable diSapproval.
The controverSarial views on this
subject are almost as numerous
and engaging as the views of the
supporters and non-SuppOrterS OF
the two presidential candidates.
In both cases, time will be the de-
Gliding factor as to which wins by
popular approval.
Aside from the novelty of the
"talkies," the biggest problem is
that of finding actors and
actresses who not only look their
roles, but can voice them con-
vincingly, as we'll. 1t should be
interesting to see just what social
settings will form the background
of the majority of motion picture
stories for the next few produc-
tionS.
AS an aid to music, the "talkieS"
have one definite value. When
they can give a public, which, by
and large, has never attended
grand opera land is not at all in
tereSted in doing so at PRESENT. a
singer like Gigli in the beautiful
air of the second act of La
Gioconda," so that regular folks"
will sit up and say, as this writer
heard several comment, MY, that
man can sing, don't know how
you pronounce his name-but he
surely has a big, fine voice" then
the parents of the motion pictures
and their newest adjunct can say
to the "talkieS," some day, you'll
be a man, my son."
Between the radio hours of
giving scenes from grand opera
in costume and orchestral con-
certS by the Philharmonic, and
the vocal pictures versions using
leading artists, the American
motion picture public stands in
the position of being exposed to
plenty of good music that is ex-
cellently done. All of which, of
course, should help considerably
in making such audiences in
creasingly music conscious and
eventually, perhaps, intelligently
appreciative.
SCHOLARSHIPS seem to be the
password in local music circles
at present. DR.. H. M. Dudley,
manager of the new cooperative
concert artists course here, has
given four voice scholarships to
the Washington College of Music
and two violin scholarships to the
josef KaSpar Violin School. Both
these institutions have augmented
the scholarships with others, in
MIR. KaSpars case a contribution
was received from Mr.. Bralove.
The Conservatory of Music also is
announcing scholarships and the
Atwater Kent second radio audi
ton is being organized. May the