Felix Cherniavsky - News Clippings 1910s 1

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

Maud Allan 477 51 2008-1-30.jpg
Maud Allan 477 51 2008-1-30.jpg
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Felix Cherniavsky - News Clippings 1910s 1

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Maud Allan Research Collection
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51.2008-1-30
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--- ) CIIRONICLE , SATURDAY , APRIL 9 , 1910 . MAUD ALLAN WINS Classic Dancer GREENER LAURELS Creates Fresh Music of Motion Offers Somber Funeral March , but the Audience Prefers Lighter Numbers . pociace woocadoapoor be Yet I see in that no reason to reject Miss Allan's marvelous conception of musical mood . Rather it was an illumi nating supplement . Black draperies hung from her hair and shoulders , trailing upon the floor . She crouched under an insupportable load of sorrow , and crept forward with anguished hands outspread and face working in agony . As the calmer melody clari fied from the sighing of the bass viols , her arms were raised in sup plication , only to droop pitifully as the music returned to sobs of inex pressible grief . Here last movement was to veil her face . It seemed the living representation of death , if the paradox is permissible , and dramatic to the last degree . There пnay some legitimate objection to the ma nipulation of the lights . One may can it a trick , or one may call it technique . I like the latter term . This art of Miss Allan's is a new one , and only half developed , so whatever accessories are employed ( and there are so few ! ) may be a little crude at points . Another fresh offering was Rubin stein's Melodie in F , which was re ceived more coolly , or rather with less glowing enthusiasm than anything she has yet presented . Its sweet melan choly was interpreted by languid undu lations of a swaying body , swathed in white and lavender veiling , which descended clear to the floor . It is ap parent that the public would rather see her in the airier , swifter , more abandoned numbers , where her grace ful body seems to ride the wind . The " Spring Song , " the “ Peer Gynt Suite " and the " Blue Danube Waltz " are al ready accepted favorites . I have no quarrel with the public for this . I also love this complete surrender to the joy of motion , but I feel that noth ing Miss Allan can do is insignificant or uninformed from the soul of true beauty . It is gratifying , beyond meas ure , that her admirable dancing has done so much to spread a comprehen sion of abstract and impersonal beauty here in the West . When the idea is fully accepted it means a moral reac tion upward . By RALPH E. RENAUD . NTEREST in Maud Allan's perform & nce at the Garrick last night naturally centered in her conception of Chopin's " Marche Funebre , " which is one of her most famous and widely accepted dances , and one which she has not previously given here . To me it Was most impressive and poig nantly moving interpretation , instinct with the spirit of utter grief , the yearning aspiration for ascension into purer realms of peace , and the final absolute congealment into motionless annihilation . But it was plain that the house , packed to the swinging doors , preferrred her lighter and more joyous dancing - that dainty fantasie of mis chievous yet innocent caprice , Tschai kowsky's " Danse des Merlitons , " for instance . Perhaps this attitude is typical of San Francisco . Here everyone flees from the mood of depression , evades thought of self - examination , hastily lays aside the mementoes and the trappings of death . Yet to every one in the audience the familiar , moan ing music must have resurrected asso ciations of black and tearless sorrow . And to Miss Allan hersell , visibly inanifesting the meaning of that music in this city , associations must have surged upon her with peculiar in tensity In movement , she seems un conscious of all save her dancing , yet she could not have been quite un mindful of a special significance which occurred to so many of her watchers . The tragic note , softened by time and mellowed by art , still sounded with painful iteration . Certain sad circumstances of the past cause Chopin's " Funeral March " evoke in me always definite image , I hear it with the rolling volume of the organ and the vox humana stop sounding that central , upward , pierc ing melody . I see the shadowy arches of & great cathedral , thronged with bowed mourners ; the dome opens , ad mitting a glory of amber light , and the echo of sweetly comforting voices , only to close again , plunging all into hopeless , impenetrable night . a MAN BONNEZ ero Maud Allan in Chopin's " Marche Funebre . " to a

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