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The Evening Ledfjer- Amusement Section, Saturday, October 30, 1915
WHAT THE ARTIST SAW AT "A FULL HOUSE" .
WHAT SCHOENBERG IS DRIVING AT
DISCLOSED BY LEOPOLD STOKOWSKI
The Talented Leader of the Orchestra Explains Why He
Is Producing the Chamber
Symphony
Note Arnold Schoenberc was known only a
few years aqo as the most revolutionary ot
composers. Outcry at his work has. however,
not persisted, because after Mm a number of
freaks have come to a transient glory as
being "more advanced" or more outrageous
and have plaei In tart on his reputation, lie
Ij himself a man of profound ovlslnallty and
who hate played in part on his reputation, lie
somen hat hackneyed taunt that he writes In
a new idiom because he cannot master the
oM. He both understands and masters the
established Idiom ot music. Ills sitet.
VerUaerte Nacht." played here U3t year by
tho KnelseU. waa a revelation of the strict
beauty ho can achieve, and the works In his
later manner are of an 'Interest far beyond
their technical oddities. ,...,.
So It Is not at all as an apoloey that the
following article by llr. StokowskI Is to 09
considered. It explains why. ot many novel
ties, this one was chosen. The article will
appear In the program books of the orchestra,
but it seems desirable to give it the utmost
publicity in this place. Music Editor.
By LEOPOLD STOKOWSKI
At a final hearing Schoenberg's Kammer
Symphonle Is so ugly and apparently
without spontaneous feeling; that I feel
impelled to say frankly to the public why
I am producing It.
Schoenberg's music has received more
serious attention from the foremost mu
sicians of all nations in recent years
than any other ultra-modern composer.
It has aroused the public notably in
London and Rome to violent protest and
even riotous scenes in the concert hall.
Schoenberg has been villified as a mad
man and a charlatan. Just as were Mon
teverdi. Gluck, Beethoven. Wagner.
Straus3 and many other great masters
when they first startled the world with
their works, which sounded strange at
that time, but- which are now considered
masterpieces.
What, then, is this music of Schoen
bers which creates such a storm? The
simplest answer is a comparison. De
bussy's music corresponds to impression
Ism In painting; Schoenberg's Is futur
ism. The Kammer-Bytnphonle Is cubism
In music. But In place of cubes he em
ploys the musical interval of a fourth.
The first theme of the symphonle is a
series of steps upward of a fourth, thus
treating this Interval melodically. Later
he superimposes a number of fourths,
one upon the other, sounding them si
multaneously, thus treating them har
monically. That Schoenbergr. as a theorist at least.
Is not a shallow charlatan, but a man
of most profound musical knowledge. Is
proven by his "Harmonlelehre" (Vienna,
1911). In this book he shows himself to
be not only easily master of the academic
harmonic sj-stem, but shows how the
iron-bound rules of the conservatorlum
are choking development, and were them
selves broken before they were made by
the source and Inspiration of all modern
music Bach. From Bach and Mozart
he deduces and proves most of his the
ories, and, carrying them further, points
1, Mr. Erady began dictating and at I
p. m. had completed the- storywhieh in
cluded 185 scnes and filled a book and
a half with stenographic notes.
The stenographer began transcribing
her notes at 2 p. m. and-at 10 p. m. that
night, with an hour for lunch, turned In
the completed manuscript of 40 pagea.
The dictating and transcribing occupied
exactly 10 hours of work, a record, so
far as Is known, for the writing and typ
ing of a scenario.
the way to enormous and undreamed-of
possibilities of development for the fu-
1 Like the futurists in painting. Schoen- j
i berg does not insist on his theories and '
I compositions as a final state of an art '
development, but frankly says he is '
reaching out to new art form3. He Is
' breaking fresh ground, like every other
innovator and pioneer before him.
Although we may not be able to Judge
adequately the value of these lnnova-
"wiu m -m jcaia vo uuiiiv, yet x am
plaving the Kanimer-Symphonle because
I feel that It is right that Philadelphia.
like all other music centres, should keep
in touch -with the latest notable devel
opments in music
Scenario in Ten Hours
Jasper Ewing Brady, one of the Vita- I
graph staff, was commissioned by Coin- i
modore J. Stuart Blackton to prepare a
l.Icturization of Cyrus Townsend Brady's
military story. "Colton. U. S. X.." In the
shortest possible time to complete a
workable manuscript. Mr. Brady was
told to select the speediest stenographer
at the Vltagraph studio and get busy.
Commencing at 10 a. m. Friday, October
It does seem incredible, but
there m such a thing as
"Tne
Unwelcome Wife"
Perhaps you will not agree
with the author of this new
problem photoplay, hut you
can see it at your neighborhood
theatre by requesting the man
ager to show this play. He
can get it from the
EASTERN BOOKING
OFFICES, Inc.
1237 Vine St. Philadelphia
Then decide for yourself
The Most Wonderful
Thing in Philadelphia
Is the remarkable popularity
of the Lubin pictures. Of
course, "there's a reason'
It's simply because we are
making the kind of pictures
the photoplay patrons want.
Once you have seen one of
our productions you, too,
will agree that they are as
near perfection, from every
angle, as it is possible to
make them.
We now have one of the
strongest producing forces
in the moving picture field,
and are constantly adding
to our targe list of promi
nent stars.
Lubin is one of the oldest
producing companies and
our facilities second to none
for picture making.
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