Wednesday last from pneumonia of Miss
SWIFT'S
It is not presumed that this book is and sister of the well-known actor Mr.
SWIFT'S
It is not presumed that this book is and sister of the well-known actor Mr.
Athenaeum - London - 1912a
As a young man, he had studied science of music as well as the practice mann-Stevens in Siegfried.
They are
not only practical music under a Mr. of it could have introduced a quintet of both excellent artists, and acquitted them-
Abel, a pupil of Moscheles, but also theory technicalities into a poetical triplet ? selves well; Fräulein Kappel, a new-comer,
under Relfe, a composer of considerable What? Those lesser thirds so plaintive, sixths has a voice of good, rich quality, and she
repute in his day, to whom he makes Told them something? Those suspensions, those first act of "Die Walküre Madame Stevens
was at her best on the last evening. In the
reference in Charles Avison':
solutions—“Must we die ? ”
Those commiserating sevenths—“Life might last !
and Herr Cornelius sang and acted in an
Great John Relfe,
we can but try. ”
impressive manner. The latter has scarcely
Master of mine, learned, redoubtable,
‘A Toccata of Galuppi's,'vii. the physical strength required for the
It little needed thy consummate skill
To fitly figure such a bass!
With the same purpose, one might quote exacting part of the hero in the first act of
O Relfe,
the following lines from Parleyings with well done. "Dr. Rottenberg has proved
Siegfried, yet all he did was thoroughly
An all-unworthy pupil, from the shelf
Charles Avison':-
himself an able conductor. At times he
Of thy laboratory.
What, "stone dead" were fools so rash reminds one of Dr. Richter, though the latter
As a result of his pupilage Browning As style my Avison, because he lacked
has—or must we say, had ? -certain ways of
himself wrote music—said to be very
Modern appliance, spread out phrase unracked
drawing out tones of different colour from
By modulations fit to make each hair
. spirited - to Dorme's “Go and catch a
Stiffen upon his wig? See there and there !
his orchestra peculiar to himself.
falling star,” Hood's “ I will not have the I sprinkle my reactives, pitch broadcast
TRISTAN UND ISOLDE' was performed on
Discord and resolutions, turn aghast
mad Člytie,” and Peacock's “The mountain
Wednesday evening with an excellent cast,
Melody's easy-going, jostle law
Madame Saltzmann-Stevens and Herr Cor-
sheep are sweeter. " Unfortunately, he With licence, modulate (no Bach in awe),
Change enharmonically (Hudl to thank), nelius taking the name-parts. The orchestral
appears subsequently to have destroyed
his settings. But, as is often the case,
And lo, upstart the flamelets,
-what was blank playing was very fine.
Turns scarlet, purple, crimson !
M. ARTHUR RUBINSTEIN, a Russian by
actual composition was not the greatest See also the fourth, fourteenth, and birth, is a pianist who possesses tempera-
benefit his study of theory conferred on
fifteenth stanzas of this poem. Or the ment and exceptional technique. His render-
him. For from the laws of musical con- following, from Flute-music, with an
ing of Schumann's Carneval at his first
struction Browning draws a wealth of Accompaniment’:
recital on Wednesday afternoon at Bechstein
illustration not to be found in either kind
Hall proved also that he felt and understood
So, 'twas distance altered
or degree in any other poet. It has,
the music. He has very strong and swift
Sharps to flats? The missing,
indeed, been said that his
works
Bar when syncopation faltered
fingers, and the tone he produced was at
hardly contain such another piece of
(You thought-paused for kissing ! )
times too loud for the hall, while he was
Ash-tops too felonious
tempted to take some of the movements at far
simple perfectness as the definition of a
Intercepted ?
too rapid a rate. Time and experience will,
common chord in stanza vii. of Abt
Possibly more than one son of Jubal | however, soon teach this able player to avoid
Vogler:
reading this poem has had to have recourse exaggerations. The programme included a
Consider it well : each tone of our scale in itself is to a dictionary before he understood the Sonata by Karol Szymanowski. Interesting
themes in
nought;
reference to an air of Tulou's,
the opening movement were
or
It is everywhere in the world-loud, soft, and all
developed in modern style, while the dif-
is said:
appreciated the full flavour of the sarcasm
ficult finale consisted of a cleverly written
Give it to me to use! 1 mix it with two in my in :
fugue.
thought:
I who, times full twenty,
And, there! Ye have heard and seen : consider
Turned to ice-no ash-tops aiding-
UNDER the auspices of the London Orches-
and bow the head !
At his caldamente.
tral Association a concert will be given with
Readers of Newman's University Ser- The aptness of the title of this poem to the combined orchestras of the Philharmonic
mons' will recall a remarkably similar its contents, one would think, is suffi- phony,' the Now Symphony, the Beecham,
thought in a passage beginning, “There ciently obvious, the verses being descrip- and those of Covent Garden and the London
are seven notes in the scale—make them tive of a flautist playing his instrument Opera-House—the total number
fourteen. "
to the accompaniment of a dialogue formers being 600. The conductors will be
Nothing distinguishes the student of between two lovers hidden from him by Mr. Arthur Nikisch, Sir Edward Elgar, Sir
harmony from a layman in the science
some ash trees. But
Miss F. Mary Wilson, Henry J. Wood, and Messrs. Landon Ronald
learns to use the word " discord. ” To the the title to “the precise meaning that orchestras will honour their brother musicians
more than the different way in which he in her . Primer on Browning,' attributes and Mr. Thomas Beecham. In this striking
latter it means something harsh, grating, may be put upon the words being sub- who perished in the execution of their duty
and unpleasant. To the former it means sidiary-an accompaniment' to their in the Titanic
disaster. The order to play
music. "
something without the frequent occur-
The meaning, however, if less the hymn - tune to calm and comfort the
a spontaneous
rence of which music would become profound—and much more easy to appre- passengers was, however,
intolerable through insipidity; something hend—than is usual with Browning, is and noble act on the part of the band-
distinguished from concord' chiefly be not a negligible part of the poem. The master. The concert will probably take
cause it lacks the sense of finality. A truth that beauty lies in the eye-in this
verses are a musical illustration of the place at the Albert Hall, but the date is
not yet fixed.
discord arouses, while concord satisfies ;
a discord is something incomplete in itself,
case the ear-of the beholder.
which consequently cannot be used as a
Three of the four poems Browning
final chord, but creates a sense of sus-
wrote under a musical title teach a lesson
pense till followed by what is technically Music is used to illustrate a subject, not
to .
Arthur Rubinstein's Pianoforte Recital, 3. Bechstein Hall.
termed its “ resolution. ” Of this Brown-
ing shows a keen appreciation. Witness
as the subject itself. One cannot but
‘A Toccata of Galuppi's. ' :-
feel that Abt Vogler and Baldassare London Trio Concert (Brahras Anniversary),
3. 30, Æolian Hall
Hark, the dominant's persistence till it must be has dressed his own thought.
Galuppi are lay figures on which the poet
answered to !
So, an octave struok the answer.
CLEMENT ANTROBUS HARRIS.
Aimée Carvel's Violin Recital, 8. 80, Æolian Hall.
"
of per-
وو
PERFORMANCES NEXT WEEK.
Bux. Special Concert, 3 80, Royal Albert Hall.
National Bunday League Concert, 7, Queen's Hall
Mox. -SAT. Royal Opera, Covent Garden.
London Opera House, Kingsway.
Mox.
Vernon D'Arnulle's Vocal Roodtal, 3. 18. Rolian Hall.
Frederick Dawson's Pianoforte Recital, 3. 15, Steinway Hall,
Tues. Madame Carreño's Pianoforte Recital, 3. 15, Queen's Hall
Leila Duart's Vocal Recital, 315, Bechstein Hall.
Godfrey Ludlow's Orchestral Concert, 8. 15, Queen's Hall.
WED. Kreisler's Violin Recital, 3, Queen's Hall.
Lamond's Pianoforte Recital, 3. Bechstein Hall.
Arrigo Provvedi's 'Cello Recital, 3. 15, Steinway Hall.
Tora Hwass's Pianoforto Recital, 3. 15, Æolian Hall
Wilhelm Sachse Orchestra, 8. 15, Queen's Hall
## p. 511 (#391) ############################################
No. 4410, May 4, 1912
THE ATHENÆUM
511
was
THURS. Twelve o'Clock Chamber Concert, Rollan Hall.
Madamo Lavallo's Vocal Recital, 3, Steinway Hall.
Louis Persinger's Violin Recital, 3 15, Bechstein Hall.
Jean Storliog Mackinlay's Matinée, 3. 80, Little Theatre.
Margaret Muredith's Choral Concert, 8 30, Æolian Hall
Woltmann Orchestra, 8 30, Bechstein Hall.
FRI.
Marjorie Adams's Pianoforte Recital, 3. 16, Bechstein Hall.
Emma Davidson, Dorothea Walwyn, and Percival Garratt's
Recital, 8. 30, Æolian Hall,
Alfred Kaut ner" Harp Recital, 8. 30. Steinway Hall.
Madamo do St. André's Concert, 8 30, Bechstein Hall.
SAT.
stein Hall
Egon Petri's Pianoforte Recital, 3. 15, Polian Hall.
>>
an
been derived from the part'as delivered to Charles Kean must have known
her by the prompter, and from rehearsals purchased by mutilating Shakespeare's
and performances in which she participated. ” plays almost beyond recognition. Nor
But does Mr. Winter really think that the can it be acknowledged that the artistic
traditions of an actress who studied her conscience is conspicuous in the Anglo-
Marlo Gab: teile Lescheizky Pianoforte Recital, '3. 15, Bech. part without knowing her play are of Saxon_nature when Mr. Winter asserts
any permanent value to the stage ? | that Irving and Booth believed, and
Again, Mr. Winter, quoting from Boaden, several times declared in conversation
says, “ Unquestionably all the truth, all with him, " that Cibber's version fof
the uniformity, all the splendor, and the King Richard III. ') is more directly
DRAMA
retinue of the stage came in with Mr. effective, than the original is, upon the
Kemble. ” But if truth and uniformity average public taste. ”. Against this judg.
began with Kemble, why study the tra- ment Mr. Winter himself protests, al-
ENGLISH AND AMERICAN ACTORS. ditions of Betterton or Garrick? Of the though he believes the opinion to be
actor Wallack in Macbeth' there is a justified on the plea that Cibber's version
The title of this book is too vague, for tradition, now happily obsolete, that his held the stage, to the exclusion of the
it suggests a general survey of Shake- exit into the King's chamber at “ Hear original, for over a century. This fact
speare and his dramas.
If the play of it not, Duncan,
was prolonged to such | alone seems to indicate how little the
King Henry VIII. ' be excepted as of an extent " that his left leg remained in Anglo-Saxon mind can appreciate what
doubtful authorship, only to five of the view of the audience for a considerable is due to a dramatist of Shakespeare's
poet's thirty odd dramas is reference made,
time after the rest of his person had dis- eminence. In fact, while Mr. Winter
while from these five there are set
appeared. Even so sound an actor as shows impartiality in his criticism of
apart, for special notice, some half a Edwin Booth took liberties with his English and American actors, his judg-
dozen well-known characters which from
audience that would astonish a sociétaire ment upon foreign artists is biased. No-
time to time have constituted the reper- of the Théâtre Français.
where upon the Continental stage is seen
tory of eminent actors and actresses. As
Yet Edwin Booth, perhaps, as so much lawlessness in the handling of
regards the choice of plays, Mr. Winter artist, stands on a higher plane than Shakespeare as exists upon the English
frankly admits that this is due to con- some of his profession whom Mr. Winter stage. In municipal and Court theatres
sideration of the commercial interests of
eulogizes. It was to Booth's credit that | abroad artists are not allowed to take
his publishers,“ whose confidence and he abjured Irving's rendering of Shylock liberties with their author.
liberality make so large an investment at a time when the new reading was There is abundance of praise in this
in the enterprise which I have under- extraordinarily popular with the public. volume for the lovely Ada Rehan,”
taken. "
Booth states :
and for “ the foremost inspirational actress
Here then is a book of 564 pages about
the doings or misdoings of theatrical
“I think Macready was the first to lift of her time,” Ellen Terry; but the
celebrities, and, like all books of its class, it
the uncanny Jew out of the darkness of his criticism on their acting, like that on the
native element of revengeful selfishness into men, is vague and tantalizing. The truth
abounds in contradictions and incon-
the light of the venerable Hebrew, the Martyr, is that Ellen Terry is “ great” by reason
sistencies. For instance, the volume is the Avenger. He has had several followers, of her personality, which has the same
dedicated to the memory of Augustin Daly, and I once tried to view him in that light, inexpressible charm to the audience in
because of his brilliant services to the
but he does not cast a shadow sufficiently whatever part she appears. Unfortunately,
cause of Shakespearean drama in Ame- strong to contrast with the sunshine of the
there is nothing more detrimental to the
rica”; while on another page we read
comedy. . . . 'Twas the money value of Leah's
that Daly produced The Merchant of
ring that he grieved over, not its association
art of the stage than the popular notion
with her, else he would have shown some
that the actress should be regarded as
Venice' with scenery of extraordinary affection for her daughter. "
something apart from the play, and the
magnificence, and dressed it with a
splendour of costly apparel unprecedented in the way he did is now for the first time collects that there are such things as
Irving's reason for acting the character character she impersonates in that play.
Sometimes, but not often, the author
in its stage history," in order to outdo
made public.
Irving's “ artistically matchless setting
“Shylock," said Irving plays as well as actors, but then he
"
of that play.
in Mr. Winter's presence,
Even Mr. Winter, how-
was a bloody- becomes sententious rather than critical.
ever, is obliged to admit the failure of minded monster, but you mustn't play Referring to Ada Rehan as Portia, he
Daly's wasteful experiment, and to confess
him so, if you wish to succeed : you must
remarks:
that “the luxury of environment was
get some sympathy with him. ” After
“ It is especially memorable that this
carried beyond the limit of necessity. " Irving's candid confession that his Shy-
In other words, the cause of Shakespeare lock was not Shakespeare's, it is strange actress was the first and the only Portia
was sacrificed to managerial rivalry.
that Mr. Winter should quote Irving's of our time, or, as far as stage history shows,
record of two thousand performances in strict court of Venice," ovinced and con-
Mr. Winter thinks that necessary and the part as one of the instances that sistently maintained the anxiety, not to say
valuable traditions of actors should not Shakespeare does not spell ruin. More the solemnity, inseparable from the situations
be allowed to die, and that the readings surprising still, in face of the admission, and feelings of a person who is to adjudicate
and “business " which were approved by is Mr. Winter's contention regarding upon a question
Betterton, Garrick, Kemble, Kean, Mac- the inferiority of actors of the European or death.
ready, Phelps, Booth, and Irving ought Continental stage to English-speaking But to Portia there is no consciousness of
to be known and considered by younger actors. “In the Anglo-Saxon nature,
a life at stake or of financial ruin. She
actors. Regarding the relevancy of these says Mr. Winter," there is a deep sin- is the one person in the court who is in a
traditions to the author's text and
cerity, a substantiality of power, which position to look with amusement on the
characters Mr. Winter is silent. When mingles in the operation of the Anglo- perplexed and tragic faces about her.
Mrs. Pritchard acted Lady Macbeth, we
Saxon mind, however exerted. ” Unfor- With much more reason it may be asked,
are told,
tunately, many pages of Mr. Winter's When will our Portias cease to be Portias
overwhelmed beholders by the volume contradict the assumption, at in the trial scene, and try to impersonate
horriblo force of implacable cruelty, the least as regards the English stage. Take, “the young doctor of Rome," Balthazar ?
grandeur of imperial manner, and the for instance, the allusion to Charles Kean's As the part is acted to-day, it would be
poignant pathos of ultimate withering performances at the Princess's Theatre, absurd to believe that Bassanio, Gratiano,
desolation ; yet it is alleged on credible
authority that she had never read the play; most opulent success by the present the heiress of Belmont in her ballroom
1850–59. We hear that he gained “his and their servants could not recognize
her only knowledge of the subject having ment of Shakespeare's plays, of which he get-up! Moreover, Shakespeare wrote a
Shakespeare on the Stage. By William produced thirteen in a style of unpre- scene especially to prepare the audience
Winter. (Fisher Unwin. )
cedented magnificence”-a setting that for some disguise and impersonation from
>
"she
## p. 512 (#392) ############################################
512
THE ATHENÆUM
No. 4410, MAY 4, 1912
6
، کی
> >
com-
Portia ; the boy-actress in Shakespeare's We are sorry to notice the death on
time was an adept in mimicry.
Wednesday last from pneumonia of Miss
SWIFT'S
It is not presumed that this book is and sister of the well-known actor Mr. C.
Beryl Faber, the wife of Mr. Cosmo Hamilton,
BOOKS THAT COMPEL.
without interest or information for those Aubrey Smith. Since her appearance in
who care for what is theatrical apart The Masqueraders' in 1894 at the St.
from what is dramatic. Its shortcomings James's Theatre, she had become well known
FICTION.
do not lie with the author, who knows his to London audiences as a capable actress DAUGHTERS OF ISHMAEL.
subject well, and handles it skilfully, but are
with a distinct personality which empha-
sized good looks.
due to the principle which underlies most
By REGINALD WRIGHT KAUFFMANN.
books of the kind. It is the notion that MR. GRANVILLE BARKER is producing
With a Preface by JOHN MASEFIELD.
Shakespeare's plays were written to exploit Prof. Gilbert Murray's translation of the
[Sixth Edition.
Iphigenia in Tauris in the open-air Greek CLEMENT K. SHORTER in the Sphere. —"A real service
some actor or actress, whereas they were
Theatre at Bradfield College on the lith,
to humanity. "
written, as modern plays are now, to be in- 14th, and
Liverpool Post. -"The 'Uncle Tom's Cabin' of the White
15th of June. Miss Lillah Slave Traffic. "
telligently interpreted by every member of McCarthy will be Iphigenia, and the rest
the cast. The young performer who reads of the cast substantially that seen recently IN A GERMAN PENSION.
Mr. Winter's book will learn little about at the Kingsway Theatre. At the latter
By KATHERINE MANSFIELD.
Shakespeare, and nothing at all about an theatre, from May 7th onwards, a series of
[Third Edition in the press.
actor's responsibilities towards his author special matinées is to be given of Mr. Maurice
World. --"A masterly piece of work. "
Baring's "The Double Game,' under the
and his art. On the contrary, he
may
same management.
Truth. -“ Amazingly clever book. "
think that in Shakespeare's plays only
star parts count with critics and the To commemorate the centenary of the
LOVE IN MANITOBA.
public, and that to play the smaller ones, Centenary Committee announce a dramatic
birth of Robert Browning the Special
By A. WHARTON GILL.
however efficiently, is to do something matinée (under royal and distinguished
[Second Edition.
derogatory to his status as an actor. We patronage) to be given on next Friday, Sheffield Telegraph. —“The author is a real student of
hope, however, that public opinion on at the Court Theatre. The matinée will be
Canadian life. "
Daily Telegraph. -"Admirably. told . . . . An excellent
this matter is changing in this country, devoted to Browning's works, and will presentation of farm life in Manitoba. "
and that playgoers no longer wish to go include the presentation as monologues of
to the theatre to see “stars” in Shake- several of the Dramatic Lyrics and the AN EXCELLENT MYSTERY.
speare, but to see Shakespeare without production of 'In a Balcony.
By COUNTESS RUSSELL.
stars.
THERE has of late been much talk of
Morning Leader. -"Undoubted vividness. "
national and other theatres-not only the
London Shakespeare Mernorial scheme, but LADY ERMYNTRUDE AND
also a proposal for Wagner festival perform-
ances of
Parsifal' have been in the air,
THE PLUMBER.
to be abandoned temporarily. A
Dramatic Gossip.
prehensive plan for a Festival Theatre of
By PERCY FENDALL.
all the arts appears in a book called The Yorkshire Post. --" Mr. Fendall has set out to amuse
and he does it in rollicking fashion. "
It is a pleasurable thing in these days to Shakespeare Revival,' published through
be able to recommend a whole evening's Messrs. G. Allen & Co. This idea, which is
BELLES LETTRES.
entertainment. Two pieces provided at explained at length, has the sanction of the
the Playhouse ensure this. Miss K. G.
Governors of the Memorial Theatre, Strat- THE EPISODES OF VATHEK.
Sowerby's “Before Breakfast' gives us
ford-upon-Avon, and Mr. F. R. Benson
By WILLIAM BECKFORD. Translated by the late
The plan is neither Sir FRANK T. MARZIALS, with an Introduction by
again the freshness of outlook which would contributes the Preface.
LEWIS MELVILLE, and containing the Original
more nor less than a combination of the
not,
her
trusted, be confined
French. 218. net.
* Rutherford and Son, and Mr. Macdonald Bayreuth idea with that of a Shakespeare
memorial,
Hastings’s ‘Love--and What Then ? ' fulfils
OLD ENGLISH WORTHIES,
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ïque Le Cardunois’ was performed for the
MAY SINCLAIR. 68. net.
We do not undertake to give the value of books, china,
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“ Miss Matheson shows literary urbanity, allusiveness,
pictures, &c.
and knowledge, but we fear that her style will give an
day night. Its world-old and now fossilized
unfair impression of attitudinizing. She has a genuine
theme is the exposure of the pseudo-heroics
fervour which is often simulated by others. "-Athenaeuin.
of Le Cardunois. The play would have
INDEX TO ADVERTISERS.
been more pointed to an audience of fifty
A NIGHT IN THE LUXEMBOURG.
years ago, when the Byronic cult of pictorial
By REMY DE GOURMONT. Translated, with a
dauntlessness was at its zenith. The in-
Preface and Appendix, by ARTHUR RANSOME.
genious doublings of the hero, the credulity AUTHORS' AGENTS
of his victims, and the final disillusion, led BOOKBINDING
POLITICS.
to some boisterous extravaganza, which
IRISH HOME RULE: THE LAST
provided broad merriment. One must
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PHASE.
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## p. 523 (#393) ############################################
No. 4411, May 11, 1912
THE ATHENÆUM
523
CHORTOX COLLINS'S POSTHUMOUS ESSAYS
THE OXFORD DICTIONARY
PAGE
523
524
525
the Dawn)
526-527
527
-.
528–529
536
GOSSIP
537-539
539-541
542-543
544
from nobility of character. This is a pe
one who had read widely and carefully, One might hold, on the contrary, that the
SATURDAY, MAY 11, 1912.
who was possessed of an astonishing defect of ‘Paradise Lost' is not that angels
memory, and had the knack of stimulating and Deity are conceived with ignoble
CONTENTS.
popular audiences to his own enthusiasms. anthropomorphism, but that they are not
He was by profession a teacher of litera- anthropomorphic enough.
not only practical music under a Mr. of it could have introduced a quintet of both excellent artists, and acquitted them-
Abel, a pupil of Moscheles, but also theory technicalities into a poetical triplet ? selves well; Fräulein Kappel, a new-comer,
under Relfe, a composer of considerable What? Those lesser thirds so plaintive, sixths has a voice of good, rich quality, and she
repute in his day, to whom he makes Told them something? Those suspensions, those first act of "Die Walküre Madame Stevens
was at her best on the last evening. In the
reference in Charles Avison':
solutions—“Must we die ? ”
Those commiserating sevenths—“Life might last !
and Herr Cornelius sang and acted in an
Great John Relfe,
we can but try. ”
impressive manner. The latter has scarcely
Master of mine, learned, redoubtable,
‘A Toccata of Galuppi's,'vii. the physical strength required for the
It little needed thy consummate skill
To fitly figure such a bass!
With the same purpose, one might quote exacting part of the hero in the first act of
O Relfe,
the following lines from Parleyings with well done. "Dr. Rottenberg has proved
Siegfried, yet all he did was thoroughly
An all-unworthy pupil, from the shelf
Charles Avison':-
himself an able conductor. At times he
Of thy laboratory.
What, "stone dead" were fools so rash reminds one of Dr. Richter, though the latter
As a result of his pupilage Browning As style my Avison, because he lacked
has—or must we say, had ? -certain ways of
himself wrote music—said to be very
Modern appliance, spread out phrase unracked
drawing out tones of different colour from
By modulations fit to make each hair
. spirited - to Dorme's “Go and catch a
Stiffen upon his wig? See there and there !
his orchestra peculiar to himself.
falling star,” Hood's “ I will not have the I sprinkle my reactives, pitch broadcast
TRISTAN UND ISOLDE' was performed on
Discord and resolutions, turn aghast
mad Člytie,” and Peacock's “The mountain
Wednesday evening with an excellent cast,
Melody's easy-going, jostle law
Madame Saltzmann-Stevens and Herr Cor-
sheep are sweeter. " Unfortunately, he With licence, modulate (no Bach in awe),
Change enharmonically (Hudl to thank), nelius taking the name-parts. The orchestral
appears subsequently to have destroyed
his settings. But, as is often the case,
And lo, upstart the flamelets,
-what was blank playing was very fine.
Turns scarlet, purple, crimson !
M. ARTHUR RUBINSTEIN, a Russian by
actual composition was not the greatest See also the fourth, fourteenth, and birth, is a pianist who possesses tempera-
benefit his study of theory conferred on
fifteenth stanzas of this poem. Or the ment and exceptional technique. His render-
him. For from the laws of musical con- following, from Flute-music, with an
ing of Schumann's Carneval at his first
struction Browning draws a wealth of Accompaniment’:
recital on Wednesday afternoon at Bechstein
illustration not to be found in either kind
Hall proved also that he felt and understood
So, 'twas distance altered
or degree in any other poet. It has,
the music. He has very strong and swift
Sharps to flats? The missing,
indeed, been said that his
works
Bar when syncopation faltered
fingers, and the tone he produced was at
hardly contain such another piece of
(You thought-paused for kissing ! )
times too loud for the hall, while he was
Ash-tops too felonious
tempted to take some of the movements at far
simple perfectness as the definition of a
Intercepted ?
too rapid a rate. Time and experience will,
common chord in stanza vii. of Abt
Possibly more than one son of Jubal | however, soon teach this able player to avoid
Vogler:
reading this poem has had to have recourse exaggerations. The programme included a
Consider it well : each tone of our scale in itself is to a dictionary before he understood the Sonata by Karol Szymanowski. Interesting
themes in
nought;
reference to an air of Tulou's,
the opening movement were
or
It is everywhere in the world-loud, soft, and all
developed in modern style, while the dif-
is said:
appreciated the full flavour of the sarcasm
ficult finale consisted of a cleverly written
Give it to me to use! 1 mix it with two in my in :
fugue.
thought:
I who, times full twenty,
And, there! Ye have heard and seen : consider
Turned to ice-no ash-tops aiding-
UNDER the auspices of the London Orches-
and bow the head !
At his caldamente.
tral Association a concert will be given with
Readers of Newman's University Ser- The aptness of the title of this poem to the combined orchestras of the Philharmonic
mons' will recall a remarkably similar its contents, one would think, is suffi- phony,' the Now Symphony, the Beecham,
thought in a passage beginning, “There ciently obvious, the verses being descrip- and those of Covent Garden and the London
are seven notes in the scale—make them tive of a flautist playing his instrument Opera-House—the total number
fourteen. "
to the accompaniment of a dialogue formers being 600. The conductors will be
Nothing distinguishes the student of between two lovers hidden from him by Mr. Arthur Nikisch, Sir Edward Elgar, Sir
harmony from a layman in the science
some ash trees. But
Miss F. Mary Wilson, Henry J. Wood, and Messrs. Landon Ronald
learns to use the word " discord. ” To the the title to “the precise meaning that orchestras will honour their brother musicians
more than the different way in which he in her . Primer on Browning,' attributes and Mr. Thomas Beecham. In this striking
latter it means something harsh, grating, may be put upon the words being sub- who perished in the execution of their duty
and unpleasant. To the former it means sidiary-an accompaniment' to their in the Titanic
disaster. The order to play
music. "
something without the frequent occur-
The meaning, however, if less the hymn - tune to calm and comfort the
a spontaneous
rence of which music would become profound—and much more easy to appre- passengers was, however,
intolerable through insipidity; something hend—than is usual with Browning, is and noble act on the part of the band-
distinguished from concord' chiefly be not a negligible part of the poem. The master. The concert will probably take
cause it lacks the sense of finality. A truth that beauty lies in the eye-in this
verses are a musical illustration of the place at the Albert Hall, but the date is
not yet fixed.
discord arouses, while concord satisfies ;
a discord is something incomplete in itself,
case the ear-of the beholder.
which consequently cannot be used as a
Three of the four poems Browning
final chord, but creates a sense of sus-
wrote under a musical title teach a lesson
pense till followed by what is technically Music is used to illustrate a subject, not
to .
Arthur Rubinstein's Pianoforte Recital, 3. Bechstein Hall.
termed its “ resolution. ” Of this Brown-
ing shows a keen appreciation. Witness
as the subject itself. One cannot but
‘A Toccata of Galuppi's. ' :-
feel that Abt Vogler and Baldassare London Trio Concert (Brahras Anniversary),
3. 30, Æolian Hall
Hark, the dominant's persistence till it must be has dressed his own thought.
Galuppi are lay figures on which the poet
answered to !
So, an octave struok the answer.
CLEMENT ANTROBUS HARRIS.
Aimée Carvel's Violin Recital, 8. 80, Æolian Hall.
"
of per-
وو
PERFORMANCES NEXT WEEK.
Bux. Special Concert, 3 80, Royal Albert Hall.
National Bunday League Concert, 7, Queen's Hall
Mox. -SAT. Royal Opera, Covent Garden.
London Opera House, Kingsway.
Mox.
Vernon D'Arnulle's Vocal Roodtal, 3. 18. Rolian Hall.
Frederick Dawson's Pianoforte Recital, 3. 15, Steinway Hall,
Tues. Madame Carreño's Pianoforte Recital, 3. 15, Queen's Hall
Leila Duart's Vocal Recital, 315, Bechstein Hall.
Godfrey Ludlow's Orchestral Concert, 8. 15, Queen's Hall.
WED. Kreisler's Violin Recital, 3, Queen's Hall.
Lamond's Pianoforte Recital, 3. Bechstein Hall.
Arrigo Provvedi's 'Cello Recital, 3. 15, Steinway Hall.
Tora Hwass's Pianoforto Recital, 3. 15, Æolian Hall
Wilhelm Sachse Orchestra, 8. 15, Queen's Hall
## p. 511 (#391) ############################################
No. 4410, May 4, 1912
THE ATHENÆUM
511
was
THURS. Twelve o'Clock Chamber Concert, Rollan Hall.
Madamo Lavallo's Vocal Recital, 3, Steinway Hall.
Louis Persinger's Violin Recital, 3 15, Bechstein Hall.
Jean Storliog Mackinlay's Matinée, 3. 80, Little Theatre.
Margaret Muredith's Choral Concert, 8 30, Æolian Hall
Woltmann Orchestra, 8 30, Bechstein Hall.
FRI.
Marjorie Adams's Pianoforte Recital, 3. 16, Bechstein Hall.
Emma Davidson, Dorothea Walwyn, and Percival Garratt's
Recital, 8. 30, Æolian Hall,
Alfred Kaut ner" Harp Recital, 8. 30. Steinway Hall.
Madamo do St. André's Concert, 8 30, Bechstein Hall.
SAT.
stein Hall
Egon Petri's Pianoforte Recital, 3. 15, Polian Hall.
>>
an
been derived from the part'as delivered to Charles Kean must have known
her by the prompter, and from rehearsals purchased by mutilating Shakespeare's
and performances in which she participated. ” plays almost beyond recognition. Nor
But does Mr. Winter really think that the can it be acknowledged that the artistic
traditions of an actress who studied her conscience is conspicuous in the Anglo-
Marlo Gab: teile Lescheizky Pianoforte Recital, '3. 15, Bech. part without knowing her play are of Saxon_nature when Mr. Winter asserts
any permanent value to the stage ? | that Irving and Booth believed, and
Again, Mr. Winter, quoting from Boaden, several times declared in conversation
says, “ Unquestionably all the truth, all with him, " that Cibber's version fof
the uniformity, all the splendor, and the King Richard III. ') is more directly
DRAMA
retinue of the stage came in with Mr. effective, than the original is, upon the
Kemble. ” But if truth and uniformity average public taste. ”. Against this judg.
began with Kemble, why study the tra- ment Mr. Winter himself protests, al-
ENGLISH AND AMERICAN ACTORS. ditions of Betterton or Garrick? Of the though he believes the opinion to be
actor Wallack in Macbeth' there is a justified on the plea that Cibber's version
The title of this book is too vague, for tradition, now happily obsolete, that his held the stage, to the exclusion of the
it suggests a general survey of Shake- exit into the King's chamber at “ Hear original, for over a century. This fact
speare and his dramas.
If the play of it not, Duncan,
was prolonged to such | alone seems to indicate how little the
King Henry VIII. ' be excepted as of an extent " that his left leg remained in Anglo-Saxon mind can appreciate what
doubtful authorship, only to five of the view of the audience for a considerable is due to a dramatist of Shakespeare's
poet's thirty odd dramas is reference made,
time after the rest of his person had dis- eminence. In fact, while Mr. Winter
while from these five there are set
appeared. Even so sound an actor as shows impartiality in his criticism of
apart, for special notice, some half a Edwin Booth took liberties with his English and American actors, his judg-
dozen well-known characters which from
audience that would astonish a sociétaire ment upon foreign artists is biased. No-
time to time have constituted the reper- of the Théâtre Français.
where upon the Continental stage is seen
tory of eminent actors and actresses. As
Yet Edwin Booth, perhaps, as so much lawlessness in the handling of
regards the choice of plays, Mr. Winter artist, stands on a higher plane than Shakespeare as exists upon the English
frankly admits that this is due to con- some of his profession whom Mr. Winter stage. In municipal and Court theatres
sideration of the commercial interests of
eulogizes. It was to Booth's credit that | abroad artists are not allowed to take
his publishers,“ whose confidence and he abjured Irving's rendering of Shylock liberties with their author.
liberality make so large an investment at a time when the new reading was There is abundance of praise in this
in the enterprise which I have under- extraordinarily popular with the public. volume for the lovely Ada Rehan,”
taken. "
Booth states :
and for “ the foremost inspirational actress
Here then is a book of 564 pages about
the doings or misdoings of theatrical
“I think Macready was the first to lift of her time,” Ellen Terry; but the
celebrities, and, like all books of its class, it
the uncanny Jew out of the darkness of his criticism on their acting, like that on the
native element of revengeful selfishness into men, is vague and tantalizing. The truth
abounds in contradictions and incon-
the light of the venerable Hebrew, the Martyr, is that Ellen Terry is “ great” by reason
sistencies. For instance, the volume is the Avenger. He has had several followers, of her personality, which has the same
dedicated to the memory of Augustin Daly, and I once tried to view him in that light, inexpressible charm to the audience in
because of his brilliant services to the
but he does not cast a shadow sufficiently whatever part she appears. Unfortunately,
cause of Shakespearean drama in Ame- strong to contrast with the sunshine of the
there is nothing more detrimental to the
rica”; while on another page we read
comedy. . . . 'Twas the money value of Leah's
that Daly produced The Merchant of
ring that he grieved over, not its association
art of the stage than the popular notion
with her, else he would have shown some
that the actress should be regarded as
Venice' with scenery of extraordinary affection for her daughter. "
something apart from the play, and the
magnificence, and dressed it with a
splendour of costly apparel unprecedented in the way he did is now for the first time collects that there are such things as
Irving's reason for acting the character character she impersonates in that play.
Sometimes, but not often, the author
in its stage history," in order to outdo
made public.
Irving's “ artistically matchless setting
“Shylock," said Irving plays as well as actors, but then he
"
of that play.
in Mr. Winter's presence,
Even Mr. Winter, how-
was a bloody- becomes sententious rather than critical.
ever, is obliged to admit the failure of minded monster, but you mustn't play Referring to Ada Rehan as Portia, he
Daly's wasteful experiment, and to confess
him so, if you wish to succeed : you must
remarks:
that “the luxury of environment was
get some sympathy with him. ” After
“ It is especially memorable that this
carried beyond the limit of necessity. " Irving's candid confession that his Shy-
In other words, the cause of Shakespeare lock was not Shakespeare's, it is strange actress was the first and the only Portia
was sacrificed to managerial rivalry.
that Mr. Winter should quote Irving's of our time, or, as far as stage history shows,
record of two thousand performances in strict court of Venice," ovinced and con-
Mr. Winter thinks that necessary and the part as one of the instances that sistently maintained the anxiety, not to say
valuable traditions of actors should not Shakespeare does not spell ruin. More the solemnity, inseparable from the situations
be allowed to die, and that the readings surprising still, in face of the admission, and feelings of a person who is to adjudicate
and “business " which were approved by is Mr. Winter's contention regarding upon a question
Betterton, Garrick, Kemble, Kean, Mac- the inferiority of actors of the European or death.
ready, Phelps, Booth, and Irving ought Continental stage to English-speaking But to Portia there is no consciousness of
to be known and considered by younger actors. “In the Anglo-Saxon nature,
a life at stake or of financial ruin. She
actors. Regarding the relevancy of these says Mr. Winter," there is a deep sin- is the one person in the court who is in a
traditions to the author's text and
cerity, a substantiality of power, which position to look with amusement on the
characters Mr. Winter is silent. When mingles in the operation of the Anglo- perplexed and tragic faces about her.
Mrs. Pritchard acted Lady Macbeth, we
Saxon mind, however exerted. ” Unfor- With much more reason it may be asked,
are told,
tunately, many pages of Mr. Winter's When will our Portias cease to be Portias
overwhelmed beholders by the volume contradict the assumption, at in the trial scene, and try to impersonate
horriblo force of implacable cruelty, the least as regards the English stage. Take, “the young doctor of Rome," Balthazar ?
grandeur of imperial manner, and the for instance, the allusion to Charles Kean's As the part is acted to-day, it would be
poignant pathos of ultimate withering performances at the Princess's Theatre, absurd to believe that Bassanio, Gratiano,
desolation ; yet it is alleged on credible
authority that she had never read the play; most opulent success by the present the heiress of Belmont in her ballroom
1850–59. We hear that he gained “his and their servants could not recognize
her only knowledge of the subject having ment of Shakespeare's plays, of which he get-up! Moreover, Shakespeare wrote a
Shakespeare on the Stage. By William produced thirteen in a style of unpre- scene especially to prepare the audience
Winter. (Fisher Unwin. )
cedented magnificence”-a setting that for some disguise and impersonation from
>
"she
## p. 512 (#392) ############################################
512
THE ATHENÆUM
No. 4410, MAY 4, 1912
6
، کی
> >
com-
Portia ; the boy-actress in Shakespeare's We are sorry to notice the death on
time was an adept in mimicry.
Wednesday last from pneumonia of Miss
SWIFT'S
It is not presumed that this book is and sister of the well-known actor Mr. C.
Beryl Faber, the wife of Mr. Cosmo Hamilton,
BOOKS THAT COMPEL.
without interest or information for those Aubrey Smith. Since her appearance in
who care for what is theatrical apart The Masqueraders' in 1894 at the St.
from what is dramatic. Its shortcomings James's Theatre, she had become well known
FICTION.
do not lie with the author, who knows his to London audiences as a capable actress DAUGHTERS OF ISHMAEL.
subject well, and handles it skilfully, but are
with a distinct personality which empha-
sized good looks.
due to the principle which underlies most
By REGINALD WRIGHT KAUFFMANN.
books of the kind. It is the notion that MR. GRANVILLE BARKER is producing
With a Preface by JOHN MASEFIELD.
Shakespeare's plays were written to exploit Prof. Gilbert Murray's translation of the
[Sixth Edition.
Iphigenia in Tauris in the open-air Greek CLEMENT K. SHORTER in the Sphere. —"A real service
some actor or actress, whereas they were
Theatre at Bradfield College on the lith,
to humanity. "
written, as modern plays are now, to be in- 14th, and
Liverpool Post. -"The 'Uncle Tom's Cabin' of the White
15th of June. Miss Lillah Slave Traffic. "
telligently interpreted by every member of McCarthy will be Iphigenia, and the rest
the cast. The young performer who reads of the cast substantially that seen recently IN A GERMAN PENSION.
Mr. Winter's book will learn little about at the Kingsway Theatre. At the latter
By KATHERINE MANSFIELD.
Shakespeare, and nothing at all about an theatre, from May 7th onwards, a series of
[Third Edition in the press.
actor's responsibilities towards his author special matinées is to be given of Mr. Maurice
World. --"A masterly piece of work. "
Baring's "The Double Game,' under the
and his art. On the contrary, he
may
same management.
Truth. -“ Amazingly clever book. "
think that in Shakespeare's plays only
star parts count with critics and the To commemorate the centenary of the
LOVE IN MANITOBA.
public, and that to play the smaller ones, Centenary Committee announce a dramatic
birth of Robert Browning the Special
By A. WHARTON GILL.
however efficiently, is to do something matinée (under royal and distinguished
[Second Edition.
derogatory to his status as an actor. We patronage) to be given on next Friday, Sheffield Telegraph. —“The author is a real student of
hope, however, that public opinion on at the Court Theatre. The matinée will be
Canadian life. "
Daily Telegraph. -"Admirably. told . . . . An excellent
this matter is changing in this country, devoted to Browning's works, and will presentation of farm life in Manitoba. "
and that playgoers no longer wish to go include the presentation as monologues of
to the theatre to see “stars” in Shake- several of the Dramatic Lyrics and the AN EXCELLENT MYSTERY.
speare, but to see Shakespeare without production of 'In a Balcony.
By COUNTESS RUSSELL.
stars.
THERE has of late been much talk of
Morning Leader. -"Undoubted vividness. "
national and other theatres-not only the
London Shakespeare Mernorial scheme, but LADY ERMYNTRUDE AND
also a proposal for Wagner festival perform-
ances of
Parsifal' have been in the air,
THE PLUMBER.
to be abandoned temporarily. A
Dramatic Gossip.
prehensive plan for a Festival Theatre of
By PERCY FENDALL.
all the arts appears in a book called The Yorkshire Post. --" Mr. Fendall has set out to amuse
and he does it in rollicking fashion. "
It is a pleasurable thing in these days to Shakespeare Revival,' published through
be able to recommend a whole evening's Messrs. G. Allen & Co. This idea, which is
BELLES LETTRES.
entertainment. Two pieces provided at explained at length, has the sanction of the
the Playhouse ensure this. Miss K. G.
Governors of the Memorial Theatre, Strat- THE EPISODES OF VATHEK.
Sowerby's “Before Breakfast' gives us
ford-upon-Avon, and Mr. F. R. Benson
By WILLIAM BECKFORD. Translated by the late
The plan is neither Sir FRANK T. MARZIALS, with an Introduction by
again the freshness of outlook which would contributes the Preface.
LEWIS MELVILLE, and containing the Original
more nor less than a combination of the
not,
her
trusted, be confined
French. 218. net.
* Rutherford and Son, and Mr. Macdonald Bayreuth idea with that of a Shakespeare
memorial,
Hastings’s ‘Love--and What Then ? ' fulfils
OLD ENGLISH WORTHIES,
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ïque Le Cardunois’ was performed for the
MAY SINCLAIR. 68. net.
We do not undertake to give the value of books, china,
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“ Miss Matheson shows literary urbanity, allusiveness,
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and knowledge, but we fear that her style will give an
day night. Its world-old and now fossilized
unfair impression of attitudinizing. She has a genuine
theme is the exposure of the pseudo-heroics
fervour which is often simulated by others. "-Athenaeuin.
of Le Cardunois. The play would have
INDEX TO ADVERTISERS.
been more pointed to an audience of fifty
A NIGHT IN THE LUXEMBOURG.
years ago, when the Byronic cult of pictorial
By REMY DE GOURMONT. Translated, with a
dauntlessness was at its zenith. The in-
Preface and Appendix, by ARTHUR RANSOME.
genious doublings of the hero, the credulity AUTHORS' AGENTS
of his victims, and the final disillusion, led BOOKBINDING
POLITICS.
to some boisterous extravaganza, which
IRISH HOME RULE: THE LAST
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either
PHASE.
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## p. 523 (#393) ############################################
No. 4411, May 11, 1912
THE ATHENÆUM
523
CHORTOX COLLINS'S POSTHUMOUS ESSAYS
THE OXFORD DICTIONARY
PAGE
523
524
525
the Dawn)
526-527
527
-.
528–529
536
GOSSIP
537-539
539-541
542-543
544
from nobility of character. This is a pe
one who had read widely and carefully, One might hold, on the contrary, that the
SATURDAY, MAY 11, 1912.
who was possessed of an astonishing defect of ‘Paradise Lost' is not that angels
memory, and had the knack of stimulating and Deity are conceived with ignoble
CONTENTS.
popular audiences to his own enthusiasms. anthropomorphism, but that they are not
He was by profession a teacher of litera- anthropomorphic enough.
