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SUNDAY, JANUARY 28, 1923 THE MICHIGAN DAILY
7;AGE FovR
THE. MICHIGAN DAILY;
SUNDAY, JANUARY 28, 1923
PAGE
-_....
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e :
,.
!1.
linatures in niozart
(Continued from Page 1) Hinshaw is to be congratulated on the
of the pianoforte. At five he dictated inherent worth of his pioneer or-
minuets to his father, correct in all ganizationcand the quality of their
details as to melody and harmony. His performance.
fame grew almost akin with his pro- Mozart's last days are sad ones to
gress and his name became heralded relate. After the acclamation and
all over Europe. His life entire recognition he received in his youth,
divides itself into two natural divi- !his life in Vienna rather pales by com-
ir. All of his material successes parison. In 1786, this city, still under
and better times were realized before the leadership of Italian opera, wit-
his marriage to Constance Weber, and nessed a contest for dramatic supre-
the subsequent removal of the couple inacy of considerable note. Mozart's
to Vienna. During the early days contribution, "Der Schauspieldirektor",
there his father died, the event being failed largely due to the fact that all
a distinct blow for the young corn- the better singers enlisted on the side
poser. Leopold Mozart had been the of Paesiello and Sarti. "The Mar-
guild ng star for his son and the loss riage of Figaro", however, had achiev-
o' this steadying influence on the ed a positive sensation in Prague two
impractical artist was noted from this years before, and with "Don Giovanni"
point on to the end of his lie. he finally did establfah himself in Vien-
It is from this later period that "The na. But Mozart and his wife were
Imr-'sario" dates. Indeed, it was not practical managers and the mat-
written almost in conjunction with one erial gain acquired through his suc-
of his greatest operatic attempts, "The cesses was not lasting. John F. Run-
Magic Flute", and the two works sup- ciman adiirably sums up the condi-
plement and complement one another tion of the composer during the sum-
admirably. Yet it would be a grcss mnier of 1788 when he, at the height of
error to hold up these operas for corn- his power, composed his three great-
parison. This is due to the fact that est symphonies, one right after the
the work presented in Ann Arbor is other. "Tortured by debts, treated as
a miniature, and does not belong to of no account, cheated by those he
the great opera category at all. And worked for, barely permitted to earn
such are the ways of genius! Her his c-wn bread, he found life wholly
we have two works inextricably bound intolerable and as he grew older he
up with each other not only in time of lived more and more within himself
creation, but in subject matter as well, and gave his thoughts only to the
as yet each is 2,s far removed from the composition of masterpieces". Gluck
sphere of the other as are light and appreciated him as did Haydn, but
day. Salieri, Kozeluch, and other small fry
Mozart the composer is also Mozart- hated him cordially.
the innovator. Not only did he lead The completion of "The Magic
music into new fields in conjunction Flute" in 1791 marks the final great
with Haydn. Dittersdorf, Gluck and achievement of Mozart. True he was
others, but he made other new de- composing a Requiem at the time of
partures as well. He is actually on his death, having had the commis-
record as having composed for a sion awarded him while still at work
mechanical self-playing instrument of upon "The Magic Flute" and "The.
some sort. He composed a miniature Impresario". But it turned out as he
opera for a puppet stage. ntitled hadly predicted to one of his friends,
"Bastien and Bastienne". He wrote "This will be my own Requiem". Mo-
miniature operas for houses seating zart died December 5, 1791 at the un-
but a few hundred people. To this sipe age of thirty-five, a discredited.
class belong the "School for Lovers", man in the eyes of the world. A fierce
better known as "Cosi Fan Tutte" and storm was raging on the day of the
"The Impreoario". Little sympho- funeral. Few attended the ceremony
nies taking ten to fifteen minutes in and only his widow accompanied the
production compare in like manner to body to the city gates. So poor was
his larger synrphonic works in C he that. his remains were placed i a
Major (called "The Jupiter"), G Minor, common vault.
and E Flat Major as these little operas Today the name of Mozart stands
compare to the "Marriage of Figaro", among the immortal in musical art.-
"Idomena", "Don Giovanni", and "The What greater proof of genius could be
Magic Flute".' According to the fig- asked than that of having his never
ures accepted by Kchel, the Mozart ceasing fount of melody retain all the
compositions number seven hundred freshness and charm it had on the
and sixty-nine. This number includes day of its inception? Monuments are
forty-nine symphonis, twenty drama- erected to his memory the world over,
tic !works, as well as representative and the magnificent fresco of the
works in every other field of musical Grand Opera House in Vienna. depicts
endeavor, including piano, string representative muses of his inspira-
quartet and the like. tion and works. :These are the Graces, I
Thus it was that on Wednesday Figaro, Magic Flute, Don Giovanni,!
night we might well have closed our and Religion.
eyes and imagined ourselves withinI
one of the little theatres for which the'
Impresario is intended. There is one Best Sellers
famous example, known as the "Re- Is
sidenz Theatre", in Munich, and artis- Followving is a list of the six best
tic Vienna possesses countless little selers of fiction and non-fiction in
playhouses similiar to this one. In- Ann Arbor bookstores since Christ-
deed, in this conection, it is interest- mas.
g to note that in 1791 during theFtion
composition of "The Magic Flute" and
"The Impresario", the composer was Rough-Hewn, Dorothy Canfield-Har-
the director of "Auf der Wieden", a court, Brace.
littlertheatre, described as being "no Babbitt, Sinclair Lewis - Harcourt,
bigger than a minute, no better than Brace.
a booth, where comic operas were T .
played and sung". Inside one of these Breakg Point, Mary Roberts
houses a remarkably small stage Rinehart-Doran.
would catch our eye, a small but se In the Days of Poor Richard, Irving
let audiences and the little orchestra Batchellor-Little, Brown & Co.
Mozart knew so well would not be The Return, Walter de la Mare -
presided over by the. baton. Rather Knopf.
would "Der Herr Direktor" confine The Cathedral, Hugh Walpole-Doran.
himself to the piano, to the clavichord,j
shall I say. N1-Fiction
But on Wednesday evening we were! n
not treated to the usual orchestra ac- Perfect Behavior, Donald Ogden Stew-
companiment. I do not say this to art-Doran.
discredit the William Wade Hinshaw Outline of History (1 vol.), H. G. Wells
organization at all. It is understood f -Macmillan.
that the project marks more or less of Upstream, Ludwig Lewisohn-Boni &
Ia :beginning in this field of musical Liveright.
art in America. Moreover, a consider- Memoirs of a Hostess, Howe-Atlantic
aible stretch of the imagination would Montl Press
no doubt have been required for Mo-M h Pr .
zart himself, had be ever guessed this , Love Conquers AU, Robert Benchley-
child- of his fancy would sometime be I Henry Holt.
performed in a hall the size of Hill Letters of Franklin K. Lane, Lane--
auditorium. But for all that, Mr. Houghton, Mifflin.
O'NeiI--Greatest Dramatist
CLOTHES DO NOT MAKE
THE MAN
But they often make other people's opinions of him. The
careless ease with which the college man wears his is en-
hanced by spotless cleanliness and careful pressing. If you
want the sort of cleaning, pressing and repairing that secures
personality see
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And Now Final
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FARMERS & MECHANICS BANK
Certain octogenerians will remem- I ea manner. In "Anna Christie", prob-
her an actor named O'Neil who for .ably his greatest work, this is mostj
years played the title part in a sure- apparent and successful. Incongru-
yiears drm cled"heCun fous as: it may seem, it makes one be-,.
fire melodrama called "The Count of lieve that ONkcould write a capital I
Monte Cristo". Today he is importaict j comedy if he only would.#
only because he was the father of a As some one has said, it has be-
son christened Eugene. However, the come quite the fashion to compare and
O'Neil family considered this son quite judge an author's work in the manner
the black sheep of the flock. He was of booking gentlemen at a race course.
on odd creature, given to dreams, I Thus, it is dangerous to say which of I
on~~~~~~~~~ od raue ie odem, IO'eil s plays are good and which l
suppose, and other such impractical ,are not. As I have said, "Anna Chris-
things. He was also a poor student, tie", judging by conventional stan-
and, worst of all, a very poor actor. dards, is his best work. Personally,
As climax to his prodigality he fin.A14 however, I would consider "The Hairy
Ape" his greatest drama. This play
ran away to sea, and for the next tenl'is adm ittedly an experiment in fix-
or twelve years sailed on tramp pressionism. For instance, some of
steamers up and down the coast of the actors wear masks; the lines are
the Americas. thrown together in short vsiolet
Quit loicalyanyresectblephrases; there are tenl scenes insteaad'
Quite logically, any respectable; of the traditional three. In all it is
family would be shocked at such a clearly a piay far ahead of it, inm-.
career, but strangely enough it w_ But nevertheless, if one is not too
the very experience gained in hip"
hectic youth tha makes Eugene ' prejudiced by its unusual features, it
'is impssible not to see the vital,
Neil today unquestionably the greatest'
compelling probalem presented. In
American dramatist. Anyone who is short, the theme deals with the utter
at all familiar with his works can futility of mere brute force against the
see the immense impression his sea conventions of society and the ap-
life has made upon him, while his Ipcon en gt of ctad t
intimate knowledge of the necessities i tsengtremendousrk.
me, it seen:,,, a tremendous work.
of the theatre proves the value his
work as manager of the barn-storming So far I have been dealing with
companies in the provinces has been to 'Neil's plays only from the author's
him. viewpoint. The truly significant fact,
however isethat they are capable of
I have talked with many peolale such wonderful and unusual theatrical
wlo decry the crass and often brutal production: O'Neil fatunately is n1
aterial used by O'Neil in ,practical!yiparlor dramatist. His plays hare lit-
ail of his plays. They admit that it erally "made" the Provincetown Play-
is true to life, but always complain ers. In addition, they have brought
that life is sufficiently unpleasant
tha lie i suficenty uxplasaxtout undreamed of genius inz such act-
without being accentuated on the ort as Richard Bennett, Char I leGil-
stage. There is no arguing this point. pin, Pauline Lord. and Louis Wolheim.
You either believe it or you don't For example, I can say without exag-
Personally, I am inclined to think geration that I have never seen the
that the appreciation of art should in equal of the magnificent charaeteriza
no way be dependant upon its cOal- tion Pauline Lord gave to th' part of
tent. Anna Christie.
I realize, therefore, that many will There is one other point in conec-
disagree with me when I accord tion with O'Neil's works. That is the
Eugene O'Neil the first place amon gfact that he never solves his proh-
American dramatists. Yet I am not 1 ems, nor attempts to teach a. moralj
alone in my contcntion. When M. from then. This has been most bit-
Gemier, director of the Odeon Theatre teuy criticised by some, but I believe
in Paris, asked the Drama League to unjustly. I am absolutely certain
pick the greatest American play they {that no reform was ever brought a',c ut
chose "Anna Christie", giving "The I by reformers, and also, that advice is
Hairy Ape" honorable mention. O'Neil, seldom followed. Indeed, I, regard
also, has been called the Strindberg this quality in O'Neil as one of h s
of America. I think this comparison major virutes.
a bit erroneous. Strindberg's char-
acters are neurotic ideas, not people have been far too laudatory anden-t j
at all, while no one, I am sure, will'havebe aototi anto ben
deny that O'Neil's men and women thusiastic about this man to be i
1 fashion.. My only defense is that one
are not to be found on the streets of'
every day life. Therefore, I would 1who ha.s for years heard the pessim"-
go even a step further and call him istic croakings of the ancient ones
America',s Ibsen. Like Ibsen, he has I
started a definite dramatic rennais-cnt hepoepae, e hc
ance, and, also like Ibsen, his plays' now point t~ the evidence that neve-r
present definite social and personal i the last hundred years has the
preentdefnie scia ad prsoalAmerican theatre been so vital andj
problems. porsie
In addition- and this is one of the pgesve_
most encouraging features about his.
workls-he cares nothing whatsoever
EdIucation Versus
DON'T FAIL
these small tests or you'll never pass the greater ones
when you get out of school.
So if you want plenty of vim and vigor for them
DON'T FAIL
- The test of the success or failure of your year's work.
.
TO EAT PLENTY OF THE
Good Steak Dinners
at
Besimer's
W. Huron St.
Across from Interurban Stat
'p
OUR GREAT
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One L o of
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Trays
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Cake Baskets
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Values
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Electric irons for
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With curling irons
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ing iron and provision for heating it.
Packed in cretonne bags:
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for the "box office." O'Neil conceivesj
a situation and a group of people,
and then with painstaking realism
traces their reactions regardless of'
the course that would be most ex-
pedient for a Broadway success. Odd-
ly enough, 'the majority of his plays
have been a great successes finan-
cially as they have been artistically.
It is unusually interesting to note that
last season he had as many plays
running in New York as Avery Hop-
wood had bedroom farces.
His reputation rests on seven plays!
and eleven one-act dramas, eighteen
in all-everyone tragedies. His "Bound
East for Cardiff" shows a dying sailor i
tormented by his past. "Ile" tells of
a woman on an oil boat driven to
madness by the bleak monotony of the
sea. "The Emperor Jones" is a study
of negro psychology. "Beyond the
.Horizon" pictures the dra-b tragedy of
'two brothers, each forced by circumi-
stances to do the work he hates...
And so they all go: none of them,
you see, themes for the Tired Business
Man. Yet after all, even in his most
tragic play, "The Hairy Ape", there
is always a .-subtle, satiric humor,
often' appearing in the most unexpect-
Intelligence?
"Education has become one of the
chief obstacles to the development of{
int'elligence," says Bertrand Russell,
the eminent British philosopher and
mathematician, in writing of the Lush
laws affecting the educational estab-
lishments of New York State.
Zachariah Chaffee of the Harvard
Law 'School and an authority on the
legal aspect of free speech gives this
quotation from Bertrand Russell in
an analysis of the case of an institu-
tion which is contesting the legality
of the Lusk laws before the courts.
Bertrand Russell made-the state-
ment in- an address delivered in Lou-'
published mbook form by B. W.ly e
bach under the title "Free Thought
and Official Propaganda."
Mr. Chaffee explains that Bertrand
Russell regards the Lusk laws as the
most striking demonstration of his
belief that the dangers that menace
the freedom of thought and the devel-
opment of intelligence are growing
more ominous yearly in almost every
country in the world except China'.
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