Felix Cherniavsky - News Clippings 1900s 2

Added 18th Mar 2022 by Beth Dobson (Archives and Programming Assistant, DCD) / Last update 18th Mar 2022

Maud Allan 392a 51 2008-1-29.jpg
Maud Allan 392a 51 2008-1-29.jpg
(No description added)

Felix Cherniavsky - News Clippings 1900s 2

Discover Placeholder
Description
The description of this Item
Collections
The collections that this item appears in.
Maud Allan Research Collection
Tags
Tag descriptions added by humans
Identified Objects
Description of the objects in this Item

Auto-generated content

Auto Tags
Tag descriptions added automatically
text handwriting letter photo screenshot Black and white document
Auto Objects
Auto-generated identification of objects in this Item
Auto Description
An autogenerated description of this Item
A close up of text on a white background
Face count
Auto-generated number of faces in the Item
0
Accession Number
DCD's accession number for this Item. It is the unique identifier.
51.2008-1-29
Original Filename
Extracted text
To b 1969 G Review o The Palace Theatre Feb 13 1909 Matinee Edited ] inasmuch as th " salome " dance was omitted on this oiccasion , there was nothing to call for anything but praise . A host of classical dancers have been seen here since O kje acame here . but Miss Allan has no rival in the purely musicL side of her art . She translated the music into steps which to the eye are the exact equivalent of the notes that reach the ear . It would be possible to imaginee the stage a vast keyboard from which the noites shouild be actually called forth fxoxxthxxkeyboarx by the skilfull feet.and for the first time it would be easy for a deaf person to to realize what a composer meant by his unheard strains . It is a joyuful experience to see Miss Allan dance a phrase that first appoears in the major and then in the minor , for she makes the one phrase of her dance repeat the other , yet with the flitting change of aspect that must have beeen in the musician's mind . This was particularly beautiful in more than pon movement ofGrieg's first Peer Gynt suite , in whicjh Anitra's dance " was the most charming of the sections . " AAse's Death " was a study of mournful poses , better thought out thn the Chopin funeral March of some months ago . And in the difficult finale of the Suite the suggestion of a gnome was given without any unsuitABLE TOUCH OF THE GROTESQUE . The bacchanal ending of this movement , too , was a piece of the most finished art . The Arabian dance from the Casee Noisette suite consisted žrincipally of the sinuous movements of the arms in which Miss Allana excels ; the Passepied from Le Roi s'amuse of Delius was a delicious little poem , and even trumpery little thing like Rubinstein's Melody in F Greg a