Felix Cherniavsky - Depictions of Maud Allan's "Vision of Salome"

Added 19th Mar 2022 by Beth Dobson (Archives and Programming Assistant, DCD) / Last update 19th Mar 2022

Maud Allan 1088 51 2008-2-69.jpg
Maud Allan 1088 51 2008-2-69.jpg
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Felix Cherniavsky - Depictions of Maud Allan's "Vision of Salome"

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Maud Allan Research Collection
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Jan 24 ( 1909 NY Times path p . 7 : 7 . to gree , not in kind . ' Vast orchestral com- ing . stimulating , sometimes profoundly plications , the use of a kind of polyph- stirring . And that is in itself a won ony that simply combines many volces derful achievement . Salome K by main strength without regard to is in reality not & work X what used to be considered musical of revolutionary import . the Since There were plenty of predictions two aptitude for combination and expert- single hearing that we had of it here years ago that “ Salome ” would be a ness in making such combination ; the two years ago there has been a lyric short - lived sensation , and that its ca- forcing together of incommensurable drama produced here of which it can reer would be like those of Strauss's harmonies without consideration for truly be sald that it is of revolutionary two previous operas , " Guntram " and what have hitherto been held to be the import ; and that is Claude Debussy's Feuerunot . " of these the former , a possibilities of the human ear ; an Im- " Pelléas et Mélisande . It stands at work frankly Wagnerian in subject and mense fertility of device in the use of the diametrically opposite pole from style , has practically been extinguished . instrumental technique and reckless- " Salome " In most respecte , but în none " Feuersnot ” has been kept allve by a Iness of demand upon the powers of the more than in the fact that it says many somewhat artificial nursing process players are characteristics of his score . new things in a new way . Auch as that which has been carried on He leaves it to his listeners to adjust The composer uses a new language ; at the Dresden Opera . There will be a thoir sensations to his results . Hi ! In - ho hns started out with a fundament . " Strauss week " there on the occasion ventive power 18 enormous as to deally new sort of musical idea . He 13 of the * Elektra " production , and vices , combinations , technique ; but It not saying in a louder or a more em Feuersnot " will be brought in hang- lis far more concerned with these mat - phatic or a more highly colored or a ing to the coattails - or perhaps it ters than with the real essence of mu- moro complicated way things that have would be more appropriate to say cling- sic itself , the subject matter of the art . already been said . His material 18 ing the peplus - of Elektra . But Much of his musical thought Is Insig- new . It may or may not be vital and " Salome has previously been given nificant , short breathed , of little orig - lasting ; it may or may not have in it at various opera houses of Europe in inality . What Strauss accomplishes the potency of a new departure in various languages , and is still a sub- with the material with which he has music . But it is what Strauss's music ject of lively interest in the musical provided himself is truly wonderful , is not- naw utterance . world . and the effects he makes are astonish RICHARD ALDRICH . First Manhattan Oneio Product 287.1 . There will be a better opportunity to arrive at a dispassionate estimate of the work than there years ago , when so many exciting and extraneous considerations were forced into view . The very novelty of the composition , the vastness and compli cation of the music bewildered and overwhelmed the listener . Strauss's score calls for a larger orchestra than any other dramatic composer found necessary ; and enlarged accom modations for the players are provided , even to the removal of seats in some opera houses intended for the audience , Strauss , in fact , is pursuing a path that , if he keeps on it , will make the giving of opera unprofitable and im possible he will need all the opera house to put his musiri.is in , and there will be no room for the audience . now was two ever As a matter of fact , however , the novelty of Strauss's score is more ap : parent than real . " Salome " is only a new manifestation of the development that much of the current musical pro duction has been making since Wagner , and his own in particular . It really de notes new departure in his own methods . He uses the same means that he has used in his symphonic poems , all raised perhaps to a higher power of sonority and intensity , differing in de no