Harrisburg telegraph. (Harrisburg, Pa.) 1879-1948, April 21, 1916, Page 21, Image 21

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    first sign cfPyorrhea
When you brush your teeth, does it feel as
though you were brushing against the quick f
Do the guins sometimes bleed? This is because
r pyorrhea has caused the gums to pull away
See your Mce yeariy. r from your teeth, leaving the unenamelled sur-
VstSenrca) twice daily. faces Unprotected.
Your dentist will tell you, if you teeth against the attack or further
ask him, that you have gum reces- progress of pyorrhea.
sion; and that gum recession is N> . o j T i
i . , _ hut benreco does mere. It cleanses
lie ypjoirea. the teeth delightfully. It gives them
Unchecked, pyorrhea will warp a whiteness distinctive of Senreco
and shrink and deform the gums. alone. Its flavor is entirely pleasing,
It will break down the bony struc- and it leaves in the mouth a won
ture into which the teeth are set derful sense of coolness and whole
—and you will eventually lose them, someness.
To save your teeth you will have , Start the Senreco treatment
to begin to fight this dread disease before pyorrhea grips you for
at once. good. Details in folder with —I
every tube. A two-ounce tube L !j
A specific for pyorrhea has been for 25c is sufficient for 6 weeks* . ; t
discovered recently by dental sci- treatment. Senrec <> r^vyi
, . a j t i-i °« your druggist today; or send {&" / |
encc, ana is now offered for daily 4c in stamps or coin for sample
treatment in Senreco Tooth Paste. tube and folder. Address The ■*
Senreco combats the germ of the ?,';? ta f I c '. Remedies Company
..... 503 Union Central Buildiap-. ,
disease. Its regular use insures your Cincinnati, Ohio. tf V
|«|p|jjpi ■■mi
u S si !■ u
No More Sore, Tired, Tender Feet; No Puffed-up,
Calloused Feet or Painful Corns-Try "Tiz"
AJ JM
)x> FX3(^
Why go limping around with ach- draws thn soreness nnd misery right
ing puffed-up feet —feet so tired, chaf- out of feet that chafe, smart and
ed, sore and swollen you can hardly burn. "Tiz" instantly stops pain in
got your shoes on or off? Why don't corns, callouses and bunions. "Tiz" Is
you get a 25-cent box of "Tiz" from glorious for tired, achimr, sore feet,
tliv drug storo now and gladden your No more shoe tightness—no more foot
tortured feet? torture.
"Tiz" makes your feet glow with Ask for "Tiz." Get only "Tiz."—
comfort; takes down swellings and Advertisement.
15,000 TONS OF DYKSTIFI'S ' MUSIC AT FIFTH ST. M. K. TONIGHT
I'KO.M Gi:JtM.\N> FOR I'. S. Tho mugio at jo lfth street Methodist
Washington, April 21. The Ger- Kplscopal Church for to-nlglit follows:
man government has agreed to permit Prelude, "G-ethsemane," Mailing: offer
f xportaition to the United States of 15,- tory, "Good Friday Spell." Vretblad;
O'.mi tons of dyestuffs, lack of which cantata, "The Crucifixion," Sir John
I .as seriously affected American tex- Stalner: postlude, "Stnbat Mater IJOIO
- manufacturers. Notification to rosa," I^malgre.
tills effect was contained in a note dc- The soloists nre Thompson Martin,
livered to-day by Count von Berns- tenor and director, and Geor • Sutton,
torff, the Gorman ambassador, to Sec- bai'itone. Miss Yiolette Casu l, organ
retary I.ansing. ist.
Remember theae two thi-tgs in connection tuifJi S. S. S. A 1
T'ley are essentials worth your consideration.
/eC~T>_
Pure Vegetable Ingredients
(f* So ] FiftyYears *
\ \ Vkki ..-;/TKE FIRST MEANS TO YOU- |£,j | ,B
:y A remedy for Rheumatism, Catarrh, ..H SUt i S
;; Malaria or Skin 1 roubles, that has •' ... ti v j
qualities to drive these impurities l, jy.irw i
from the Ulpod. an.lvc:. -table ingredients ${A K smm::fKaV ■*'
that build the Mood up to normal healthy «'>, . j
conditions, without the usual violent Ligji J K
effects mineral drugs have. a 4 r-
L'jl THE SECOND MEANS— L
i ■.] ton arc not experimenting when treating Ss'
\ ; vvithS.S.S. The merits of this remedy arc i'ully cstahlidicd. and i-
BiJ Ihou.saiids have found in it the way to renewed vigor and vitality; f.'*
; ' If you see signs of blood impurities, start at once on a buttle of k't
S.S. S. Get it at any druggist.
THE SWIFT SPECIFIC CO., ATLANTA, GA.
' ■ -■ ■ J ■'!
<■ *. ./ V v yv v*
■
t —. — ="N
| |
\ | SMOOTH and MELLOW j
1 l
; 1 ' 5c CIGAR jj
| r
Have built up and are increas- I
| ing their reputation for quality \
and regularity. Confidence | I
$ cries gained has not been abused I
4j , |
£ |
f "The Daddy John C. Herrnan & Co. [ |
of Them All' Karrisburg, Pa. '
| { i
VvVVVtA W WvWvWWiMAA VvIWWVWWVWW*\.W
FRIDAY EVENING, KARRISBURG TELEGRAPH APRIL 21, 1916.
STOKOWSKI TELLS WHERE
AMERICANSSTANDIN MUSIC!
By liEOPOljI) STOIiOWSIiI s
I do not like to couple war with
music. It is not Kood to couple war
with anything. I would rather not !
talk about it. America knows, with- i
out my saying it, that tho war has 1
driven many interpretive artists who i
produce music to this country. !
Whether the artists who create music
will follow or not. who can say? Some ■ i
of them are already in tho trenches. 1
We are all affected, even the most
subjective and introspective, by mate- '
rial things; and the musician sens!- ,
tively attuned to every sound that
nature offers, what will ho do after
hearing for years tho reverberation '
of artillery? Will it affect his genius? j ;
No one can prophesy. There is no I
doubt that if the creative genius of i
Europe finds its way to America for I '
rest and peace, both will be accorded \
in full measure, for there is no coun- |
try in the world more liberal in its j
welcome to music than America.
I have been so often asked here if |
America would eventually become a j '
country to produce music, if the
great mysterious force known as mu- t
slcal genius would eventually And its 1
channel among the people who love 1 '
music here. Thero is surely no ob
vious reason why it should not. The
world over, the musical brain has
three lobes—the interpretive, the re- 1
ceptive, the creative. The greatest
of these of course is the creative. Al- 1
; ready in America you have to an as
tonishing degree the receptive quality,
j in fact the love of music in America
Is something phenomenal. I know of i
no people so tremendously for.
j so absorbed in music brought to them
ias Americans. More and more you
I are developing tho interpretive rpinl- :
ity of music, more p< ople are playirtg
music and playing well. The question
of creating music—must forever rest j
on the knees of the cods.
Creative (Jenius
Of course, it is possible to write ex- j
cellent music without having creative
genius. A man can be trained to write
skilful, intelligent music just as a
man can be trained to write skilful, in
tellige.nt books, even fairly technically :
good poetry; but thai flame which :
I comes to «. man out of the' infinite,
the divine fire which illuminates his
own soul and the soul of those who
come in contact with him, that can
not be taught. You can build the
channel for music and make it very
strong and firm, you can see to it
that music flows in the right channel.
but the ineffable things which exalt
the world cannot be found by any
quest, cannot be developed by the ;
most gracious system of musical train
ing in the world; that is out of the
h< art of nature, and is as mysterious, 1
iis reunite front our understanding as
life itself.
Once we find a definition for genius. :
] once we l race it to its source, we
will find there, too, the spring of lire.
That thev are one and indivisible. I
am sur>\ anil so r cannot tell you If
•u w ill evi i- be a great nation of
it. .tive mi:-icians. If I could, 1 would
j In' ih< prophet of the ages. I can
only tell you w here I find genius, and
then express it to you through the
orchestra. We can all recognize that •
"in the faces of some men and women
we see God'' (to paraphrase Whitman )• '
but 1 cannot tell you, no one can tell
you, why we sen Ood in the Ayes of
some human beings and not in others.
William Morris has described genius :
is "the majesty that from man's soul
looks." It is indeed the majesty from
man's soul that speaks in the various
arts, and if this majesty is dormant in •
your nation, or if back of the nation
it is dormant in nature and your na- j
tion becomes susceptible to it, you 1
surely will create great beauty, be- i
cause you have a land of great force
and great power, arid, as I have al
ready said, a great interest in noble
things. | •
T Ikes Everything <!on<l
A fact of great Importance in Amer
ica is the universal quality of (lie
audience's appreciation of music. This
eannot lie said of any other people.
The American audience is enthusias
tic for everything that is good and
worth while in music. In France, for
instance, the French people demand,
all of the very best French music and ,
the classical music from Germany:
Beethoven ami Bach are greatly ap
preciated but Slrauss and Mahler, Tte
ger and Schoenberg are but little
played. We can reverse this state- ,
inent exactly for Germany and Ans- ! i
tria. Naturally there all the great .
I music of their own country receives ]
a widespread response, and the classic
French music is also presented in
I concert and song; but in Germany,;
and Austria we hear far too little of 1
Duhussy. avel, DuKas, Cesar Frnnck. .
and still less of those great artists of \
[the modern Russian school. 1 need ,
not say that the modern music of i
• v ry school is welcomed in America. ,
There are limitations set to your en
thusiasm. The American ideal of
freedom 'nd liberty is surely realize I i
tn tli utmost In one thing in Mho ap- <
prcciation of beauty. Americans <!o- |
:nand but one thing, namely, that t
what Is given them is the best of its t
kind. In this ideal at Ipast the Amer- i
iean audience is paiumount to any i
other in the world. " j f
I am especially interested In this i
fact about America nccause I myseir <
enj.iy all music, the simple music and • t
'Hi great, the music of the people i
an.' the music of tln -.Sic (delusiveness. •
i tin not hellovg tb-t theie is such a
tiling s "vulgar music" any more
than w6 would speak of a vulgar soul.
A human being may have vulgar
traits, hut music is one of the attrl-
Mites of the soul, and so it cannot be
vulgar. It may be uninspired, it may
lack harmony. It may be without per- ,
muncnt beauty, but it cannot tie vul
:;.>r any more than a picture done by
in artist who loves humanity can be
vulgar. In Kngland we hear people
si« ilk of llogarth. of van Ostnde us
vulvar painters; this is qui' ■ ridicu
lous. A a matter of fact, they are
men of wider sympathies than most of
us. men who find in all humanity a
subject for their art, just as a musi
cian should find in all nature a sub
ject for his music. I do not believe I
that a man can be a great artist who]
is not a great lover of humanity, and
, you cannot become great and love a
selected few human beings. Every
manifestation of humanity the world
over must interest you if your art is
to express "the great vitality"—life !
: itself.
There is really only one curb that
should be put upon the interest of
• the artist in life—the spiritual health
of the community. If wo arc feed
ing the community poison then the \
time has come to stop. But there
| again, who is to decide what is Spir- j
itually good for a nation and what
will demoralize it? I consider that It .
is a part of every artist's duty to study,
to understand what will develop the
community, and if he Is not sensitive
enough to pour out through his work I
the necessary spiritual sustenance, j
then In is not essential. I believe,
for Instance, that every conductor of
i symphony orchestra should feed th" '
I audience with sustenance of rich ,
beauty and variety; also he should
realize that hearty, healthy, vigorous
music is not vulgar, just as the m'an
who paints must reallx that the hum
ble people are not vulgar, that they:
are sometimes very close to the source
of that power for expressing beauty,
which we call genius.
I take a, very great interest in sc
lenting music for m.v audiences. T
spend much time studying new com- '
i and new musical scores are I
sent nic from all over the world, from 1
Kussla,- Scandinavia, Germany, Paris,
and from alt parts of America. 1 also 1
study programs that other conductors
lire making all world. I look
into the kind of "food" that the Ger- i
man conductor, *lie French, the Rus
sian conductor is giving his audience, j
1 try to watch the world musically— |
and I am always waiting for genius.
Many of my programs are made up
a year ahead, Indeed the preparations
for .Mahler's great Eighth Symphony,
which a plan to produce In March,
were started nearly two years ago; j
otherwise how could I complete plan j
for two choruses of four hundred
voices each, for a children's chorus of
two hundred and fifty and for an
echoing orchestra in the distance?
Until a piece of music has been
presented to the public, or at least
until it has been "put through" an or- i
chestra, it is impossible to get any \
impression of its relation to an audi- ;
enee. You can read a symphony for
the orchestra, but not for the audi- j
enee. 1 am glad to say that there ■
are opportunities for the production
of new compositions at the musical
conservatories of America. I think
every conductor, like myself, is watch
ing I'or genius. 1 know that I>r. Muck
constantly produces new music by
Americans, that Mr. Stock does the
same thing in Chicago, and in New
York that Mr. Damrosch frequently,
gives opportunities for hearing Amer
ican composers. Mr. Stock is a com
poser himself, and I have had the
pleasure of playing one of his sym- i
phonies. I find that the best method |
for myself is the one that Rlehte?;
sometimes employed in Germany, that
of producing a new symphony score
at a short rehearsal, when I have my i
musicians together; that also means j
occasionally a small audience to hear |
the work.
Naturally in addition to the music J
we play, every conductor is immensely
interi ted in the players of the music.
I believe a conductor. In time, gets
to think of human' beings in terms of ;
musical interpretation. A man's per- !
sonality will inevitably and quickly
suggest his musical medium. In this
connection I feel very deeply about the
exclusion of women from our sym
phony orchestras. It seems to pie a
great and incomprehensible blunder.
The particular spirit that women put
into music, their kind of enthusiasm,
their devotion to anything they un
dertake, would be invaluable in the
formation o;' symphony orchestras. 1
lind that women are especially good
as violinists, if to begin with they • are
much about music; in fact, women are
wonderful in anything they want to
do.
000 Women in Chorus
Tn the production of the Mahler j
symphony we have about six hundred
women sinking parts of utmost dif
ficulty in the chorus, and they have
taken tip this work with keenness,
with an enthusiasm, with really an
avid voracity. In addition to their
delight in the work, they are quick 1
to gel til me ming of a score, tin y .ire
ninible-wilted in taking in a tiew idea.
In nnder.-i nding the nuance in the
combination of so man.' instruments
into one harmony, and they are moat
conscientious • about appointments,
time and practice.
When I think of women as T see
them in the musical world, what they
are capable of iloljig, llinlr line spirit,
excellent technique, 1 realize what a
splendid power we are letting go to
waste in this country, and in other
countries too. What poor economy It
is to take it for granted that women
are not ready to enter the world of 1
art, are not capable of becoming fluent
channels for the expression of genius.
We are deliberately shutting away
great forces for beauty and progress
by leaving women out of our scheme
of things in the art. world. We are
sacrificing accomplishment to tradi
tion: for tlie sake of not making the
i ffort of opening our spiritual eyes
we are leaving unused a power of
achievement as great, it seems to me,
as the electricity in the clouds which
we have not yet learned to bring Into .
our homes to help us livt> our lives
more easily and comfortably.
You ask me If women will become
conductors of orchestras. Who knowsjj
That is a matter of physical endur
ance as well as spiritual insight. T
doubt very much if you eould even
takt any well-trained soldier in ex
cellent physical condition and put him
through three hours of such exertion
as conducting the "Walkure" without
his laying down the baton at the end
of the opera in a state of physical ex- |
haustton. There is nil Immense
amount of physical energy essential i
for good conducting. And then if you
add the intense nerve striln and the
mental strain, 1 doubt vi ry much In
deed if women, trained as they arc
to-day physic, ll.v, eould manage an
entire opera.
Opportunities Incrin 'n:r
T find opportunities Coi studying
music for nv n as well v.- 'lien con
stantly increasing in this country. I
have alft idy mentioned the conserva
tories of .Yew York, l'.oston and Bal
timore. There are opportunities In
many other cities in Philadelphia,
San Francisco. Chicago; but tlie
studying of music is by no means con- ,
fined ty school hours or lectures, or
even in listening to music, which ts
one of the most Important branches
of musical education. In my own
student days T worked in London, In
Paris, in Germany, in my own studio; 1
but ns T look back upon those times
T realize that mv greatest lessons were
learned from nature, out in the fields,
along the river banks, in tlie foropts
and In gardens.
Indeed, it seems to me that power
to produce the kind of music that
will reach and inspire an audience
must come to a man in two ways—
one from his love of humanity, the
other from his love and knowledge of
nature. nhythm is to be found -in
every branch swaying jn the wind, in
evei v tret bending to tlie storm, in the
crest of the wave, in a bird's flight,
in tb" movement of a flower In the
moonlight. These things ire all the
equivalent of music and to know th"m ]
well Is to be very close to that myster- '
ious spring in which genius finds Its s
source.
Rhythm is express".! (n all the arts,
is of the essence of them, of this T
am sure. There is rhythm in painting,
rhythm in dancing, and we shall some
day find and understand the extra
ordinary large white waves of rhythm ;
in sculpture. Some of the sculptors ;
to-day have found it, and are express
ing it, even thousrh they do not talk
much about' it. It is for this reason
that T believe much inspiration can
come to a musician from the other
arts. 1 have found it in close asso
ciation with painting, sculpture; color j
.is alwavs an inspiration to mo, but
most of all T find an exaltation or
spirit in beautiful dancing, of such;
artists as Ni.ilnskl and Karsavina.
The movements of these people seem
to he a part of the universal rhvlhmJ
What definition and intensity of ex
pression they give! The beauty of all
human experience seems to lie ex
pressed when they move to music, it
is as though they had absorbed from
nature the rhythm that moves the
wind and the sea. These marvelous
dancers from Russia have no limit
to the rnooils which they express!
through their art; for nature has no
limit to the variation of her beauty,,
and those who are sympathetic to na
ture, enriched by her, find themselves ,
endowed with her prodigal grace and
color. And so when 1 SHV that F* owe j
; much to dancing as an inspiration. I
r
J Your Easter Suit |
Be smartly dressed for EASTER. Don't wait several weeks to save up the
money, being inconvenienced in the meantime. Buy your clothes the modern JuL
way-the liberal, lenient, credit way-small payments weekly or monthly. Our to®
f prices are low, because we can buy advantageously in the markets, on account
of our tremendous buying power. We operate stores from coast to coast.
% MILLINERY it
- B r\\ su ' ,s ar e nicely
M
, jj | 1 | The hats we offer are made of real Lisere
I straw, beautifully finished, newest shapes, j
R 5 vc-*-:*, Mr $ fatf sailors, tricornes, turbans; etc.
V J if gA i %£
O (jii A, ;rr,u:'' «pI.OU Up j A
If MEN'S h2tS |
f°re a window iL ■
# display of up- J\j£f IM\
I to-date garments s? \
# -""-STf "iIMMk A
JC Wi ! wish i could j|
j fC
>f v I any - su ? r wenl
V , ? I \ ](<// / I \ li w-«"»ply by paying fk »)
If ! \r / 1 • pigMpM if
%S j We have a large
j line to select from. jfiJP
& | Splendid and fashionable hats in the new and \ to ;**}*- m * nu,e
Jg smartest Spring The quality is exlra- 1111 l ! X
Jr.- A 1 une —every detail of finish bespreads perfection. I in brown, gray and j-jffe
Second St. Corner Walnut j
//% iwL
J v • *Vc''
mtich to Nijinski and Karsavlna, I
I'eel really that I am saying that na-
Luro is my real teacher.
Truly in music "one is a part of all
lhat one meets." and the more pro
foundly sympathetic the musician is
ii ill people and all nature, tiie more
mrnly he cun express the music that
ivill reach all humanity. 1 dare say
•en in the trench.s there are human
xperiences, terrible realities, that will
iiring people closer together, closer to
lie essentials of existence; and those
men who are sympahetlc, who feel
in each i xpcrience its lull revelation i
| -WHY MANY MEN I
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AND WOMEN FAIL SOCIALLY
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QS&j I them to.
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of humanity, in other words, the art
ists, will have a new and powerful and
strange note in their poetry, their mu
sic, their painting of the future; this
we cannot doubt, if they live to ex
press it.
As for the present generation of
musicians, in the main war will not
stop their capaci* for creating. Once
a man's soul has been touched into
life, nothing c-.fn take from him his
desire to express life; nothing, at least,
except death. One remembers that
war did not stop Beethoven in his
; work and-that lie composed within the
sound of bombardment: that Cesar
Franck back in the seventies, when
Germany went into France, continued
to come his "Redemption." So for
the precsnt at least we shall no on
receiving musical scores wherever mu
sicians exist. And afterward, if peace
comes to ua again, who shall say that
it will be merely a niati rial peace, a
, cessation of strife, a blind urge for
material comfort again. It may ho
that through conflict, some strange,
new force shall have been liberated to
illuminate the world and cast out the
shadows of this present universal trag
. ody -
21