Felix Cherniavsky - News Clippings 1910s 2

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

Maud Allan 545 51 2008-1-30.jpg
Maud Allan 545 51 2008-1-30.jpg
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Felix Cherniavsky - News Clippings 1910s 2

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Maud Allan Research Collection
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la Cana Gospofana 1916 11 ! 11 At a certain private concert in London several years ago , Leo Cherniavsky , the violinist of the Cherniavsky Trio of Russian musšicians , had just finished playing a Beethoven sonata when an over ambitious young novelist came up to him and asked the meaning of the peece . " This is what it means , said the young violinist as he picked up his violin and played the work right through . This little incident furnishes a good illustration of the work of Maud Allan , the symphonic dancer , who endeavours to tell what the music means by use of the movements of dancing and who will be seen at the ** RUssell Theatre tonight . Maud Allan's dancing is interpretaion rather than trasncription . Her impulses are given far greater prominence than any passion whish the somposer she intweprwea may have had in mind . B movement and gesture and simple attitude she she portrays the music as it affects her rather than the composer . Gabriel D'Annunzio wrote of the " Luse of the beautiful hands , " Sardou of " the Bernhardt of the golden voice , " and William Winter of the " Ada B Rehan of the matchless presence . And as it is no ndication of a lack of a sense of proprotion to name her with suc uch incomparable artists , such a composer as Debussy or Grieg might call Maud Allan " the woman with the speaking body . " Her face , with its changes from open full eyed wonder to plaintive melancholy ; her winding , insinuating arms ; her little half articulated sobs and sighs make one speak of her as Dante spoke of Lucia in " La Giaconda , " - simply an instrument of art . Recalling how Dante Gabriel Rossetti once pursued the moon similes , one tries to find thongs with which to compare Maud Allan . And eminent critics have said that thewe comparisons try to find their wayh into the brain only qfter wax each of her dances not during her dances . Then one is all quickened pulses and eyes and ears . It is perhaps significant that all the comparisons are with the open air and the green fields- the breeze kissing the tops of trees , the butterfly touching the blades of grass , the streamong of a woman's unbound hair [ ref to Botticelli ? ] , the wind strring the autumn winds into a sirocco . As one critic has said , " if there is a spark of the love of beauty in your soul , if you would understand the larger sphere of the artistic , if art means anything to you , go and see Maud Allan , for sje has a message for you . ' ( Adv . ) Ottawa Citizen 29 Sept. 1916 . 11