. PAGE FOUR
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MANAGING EDITOR
Chairman Editorial Board,
HENRY MERRY
FRANK E. COOPER, City Editor
News Editor. . .........Gurney Williams
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Sports Editor ..............Joseph A. Russell
omen's Editor........... Mary L. Behymer
Music. Drama, Books.........Win. 3. Gorman
Assistant City Editor....... Harold 0i. Warren
Assistant News Editor...Charles R. Sprowl
Telegraph Editor..........orge A. Stautei
Copy Editor ..................Win. F. Pype*
NIGHT EDITORS
THE MICHIGAN DAILY
FR IDAY, JANUARY 16, 1931
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FRIDAY, JANUARY 16, 1931
Night Editor -HAROLD WARREN
RECONSTRUCTION OF CHINA
The announcement t h a t t h e
Chinese government has requested
the League of Nations to send Sir
Arthur Salter, director of the Sec-
retariat's economic and financial
section, to Nanking to give the Na-
tionalist government his advice on
the reorganization of the Chinese
financial and currency system is an
important piece of news, and will
probably start a train of events
which will culminate in restoring
China to a position of great im-
portance in the world. Sir Arthur
was sent by the League to Hungary,
Austria, Danzig, Esthonia, Bulgaria,
and put the currency systems of
those and several other European
nations back on a normal basis,
and if the League grants the re-
quest of China, Robert Haas, di-
rector of the transit section, will
accompany Sir Arthur to the Or-
ient.
Senator Pittman, of Nevada, re-
cently suggested a loan of silver to
China by the United States and.
Canada to help out the govern-
ment in its financial difficulties,
At present the value of silver is so
low that China isliterally swamp-
ed with silver, and such a loan, the
suggestion of which was received
unfavorably in financial circles,
could not accomplish much, except
under certain conditions. In the
first place, there exist treaty a-
greements between world powers
with respect to loans to China,
which would have to be considered
before starting negotiations. In the
second place, the assumption is
that the loan would be made to
the government, which in the past
has not been able to meet even
the interest on present obligations.
Furthermore, the bankers will ask
for what purposes the loan will be
used, and what guarantees they
will have that the money will not
be expended on further war rather
than economic reconstruction. And
lastly, the currency system is in
the utmost state of confusion. Dif-
ferent weights are included in coins
now circulating in different parts
of the country; various cities have
different denominations of silver
tokens. What would happen if an-
other million or so dollars worth
of silver were literally "dumped" I
the currency might gradually be
placed and kept on a stable level.
However, the plea for aid from
the League experts has undoubted-
ly upset all individual political
scheming on the parts of various
countries wishing to expand their
trade in China at their own profit.
China recently lost its elective seat
on the Council of the League, while
Japan retains a permanent seat
under the provisions of the Coven-
ant. Under the new system, China
will automatically become a mem-
ber of the Council in regard to the
financial scheme if such a scheme
is undertaken. If it is found pos-
sible to develop some constructive
measures, then China will soon find
her international position and pres-
tige among nations returning, and
will be able to deal with Japan and
others on a basis of equality.
THE SOVIET "MENACE."
Not content with an already size-
able record of absurd proposals,
Representative Hamilton Fish and
his committee investigating Com-
munist activities are preparing to
submit to Congress a recommenda-
tion that alien Communists be de-
ported. Among other resolutions
urged are: re-establishment of a
bureau of investigation in the de-
partment of justice to shadow Com-
munist and kindred organizations;
levying an embargo against Soviet
exports; exclusion of the Commun-
ist and the Worker's parties from
the ballot.
The publicity-seeking schemes of
Solon Fish are no more condemna-
ble than the general apathy with
which the American public receives
them. We do not ridicule his pro-
posals as such jingoism should be
ridiculed because we have ceased to
be a thinking people in political
matters. Most of us have absorbed
the clap-trap disseminated by our
capitalistic press until we look upon
a Communist much as our self-
righteous forefathers looked upon
an atheist.
We read censored and unreliable
dispatches from Russia uncritically.
Nearly every day our police author-
ities accuse Communists of com-
plicity in uprisings of underpaid or
unemployed laborers, perhaps rath-
er than take the trouble to deter-
mine the true causes, or, perhaps,
rather than reveal the true causes.
There is nothing holy about our
form of government. If it some-
times fails conclusively to provide
those things that it guarantees, it
will be time for us to change. For
that reason, the makers of the con-
stitution included in its provisions
permitting free speech and pre-
venting discrimination a g a i n s t
those of non-conforming political
beliefs. The government, though it
is often inefficient and often unjust,
has not failed. But in every case of
discrimination like that proposed
by Solon Fish, it not only defies the
bill of rights guaranteed to the peo-
ple, but also admits that capitalism
has allowed enough injustices to
creep in that it must use extra-
1 e g a 1 methods for suppressing
movements that would compel it to
rectify the unjust practices.
Communism and Soviet Russia
are not "menaces" to our govern-
ment. But they do~ establish the
[act that our governing agents can-
not continue indefinitely to abuse
the powers with which they are en-
trusted nor neglect their duties for
interests of political self-preserva-
tion without eventually making
their own positions insecure.
Campus Opinion
Contrihutors ae a' ed to he brief,
confining theinsceSe to less that. 300
wrds11 if poss id Aionytnoos C n-o
munications will he d.isregarded. The
names of (comm11unicats ilt' , ihowever,
he"Igardcd as cnfiOcn ' *ial,u pon re-
quest. Letters pb1 islied should.not he
cons't rued as expressing the editorial
opinion of The Daily.
To the Editor:
May I make a suggestion how I
believe the students may materially
help theAUnemployment situation
in Ann Arbor at present. One of
the things which the Mayor's Un-
employment Committee has been
attempting to do is to get house-
holders to employ a man, at tem-
porary jobs about the house, if only
for a short time. It would seem
that particularly those people who
are on fixed incomes would respond
to this appeal, but so far the re-
spond has been meager. Would it
not be possible for students to so-
licit the work for the unemployed.
They might go from house to house
asking citizens to employ a man, to
clean the cellar, wash windows, or
do other odd jobs. The fraternities
and sororities also could be visited
and urged to do the same thing,
and in this way it might be pos-
sible to find jobs for niany who are
now in urgent need. It would seem
that such a scheme would renuire
Music and Drama -
DEBUSSY
La Mer: played by Piero Coppola
and Symphony Orchestra for the
Victor Musical Masterpiece Series
Album No. 89.
With an adequate perspective on
the whole Symbolist movement in
France-of which Debussy was the
musician-Debussy's intentions and
achievements seem readily under-
standable. The recent importation
by Victor of a French performance
of one of Debussy's early master-
pieces-quite superior I think to
either of the later long orchestral
work, Fetes and Iberia-makes ex-
amination easier. In this early
work, Debussy is morethe spontan-
eous artist; less the conscious ex-
ploiter of a formula (which he cer-
tainly became.)
Debussy himself, perhaps t h e
most illuminating commentator on
his own music, suggests the key to
understanding in his s t a t e m e n t
that his tone-painting was "une
transposition sentimentale de qui
est invisible dans la nature." This
vaguely anthropomorphic concep-
tion of nature was at the basis of
the whole Symbolist movement. De-
bussy has suggested it again in the
edict that he sought in music to
establish a "rapport entre l'ame
innombrable de la nature et l'ame
d'un personnage." Involved in these
statements is the belief-perhaps
only an emotional attitude-that
there is an inherent logic or impli-
cit significance in natural sounds
and natural scenes in their rela-
tion to human sensibilities. The
Symbolist poet and the Symbolist
musician is concerned with com-
municating his perception of this
inner logic in nature together with
the emotions evoked in him by this
perception. Mu s i c undoubtedly
proved the better medium (De-
bussy's being a better poem than
Mallarme's for example.) h
This type of creative process hasI
certain important results for mus-
ic. In the case of a composer hold-
ing such views as Debussy, the em-
otional states he wishes to com-
municate will obviosuly be condi-
tioned by and in relevance to the
situation or scene which has a-
roused them. By focussing his sen-
sibility on a specific scene or ob-
ject and keeping his musical atti-
tudes relevant to them, he attains
the crystallisation he desires. This,
I think, is certainly an approxi-
mate description of Debussy man-
ner of composition in the larger
works and in the smaller piano
preludes.
Since the objective derivation of
Debussy's emotional states is by
his own admission so important, one
clearly needs to know its nature
in listening to the music. Hence
the Debussy titles (The Sea, the
Goldfish, Wind on the Plain, clouds,
etc.) which are meant to limit our
field of reference to consciousness
of the object designated in the title.
In addition to this extra-musical
means of limiting our field of ref-
erence there is the effort in the
music itself to maintain, in addi-
tion to the expression of his emo-
tions, the realistic basis (the sea)
from which his emotions derived
(by certain "representative tricks
possible to a subtle musical idiom).
In the listener's experience of the
music, if it is successful, there are,
then, emotions (more or less the
composer's) and visual i m a g e s
(more or less the composers) of a
specific mise-en-scene.
The musical intentions involved
here certainly modify musical com-
position. They limit it, too, I think.'
In fact, I think it probable that in
the very thing Debussy has tried,
to modify (namely the peculiar sortl
of abstraction involved in musical
expression, that is, its sole preoocu-
pation with attitudes without their!
conditioning objects) most of the
strength of music lies. H e r b e r t
Schwartz in a recent article in the
Hound and Horn has suggested
this idea. After a description of the
abstraction involved in musical ex-
pression he says: "That perhaps is
why music is so fertile a source of
human understanding and so sen-
sitive a medium of human expres-
sion. It has all the precision of the
isolated experience divorced from
,ll the data required to establish
its fa.-tual origin." Debussy's views
and type of experience made it
necessary for him to establish with-
in the music this "data." He is thus
a unique and a limited musical
sensibility. His interest lies in his
uniqueness; his genius in his per,
feet realization of valid, if not high-
ly valuable, intentions.
La Mer has three sections: From
THE FLYING DUTCHMAN
A Review
The fact of a conductor attempt-
ing by a reading in a different, and
what may be called more Wagneri-
an, tradition to remove from "The
Flying Dutchman" some of its Ital-
ian associations added greatly to
the interest of the German Opera
company's performance Wednesday
night in the Detroit Masonic audi-
torium. Recognizing that though
"The Flying Dutchman" possesses
many notable enrichments over the
j old style in solo and choral effects,
and though there is in it the germ
of that dramatic integrity and
imaginativedsincerity which later
characterized Wagner, recognizing
that though all this is so, "The Fly-
ing Dutchman" is still full of tre-
mendous concessions to the current
(for Wagner) styles of Italian com-
position and melody, Hans Blech-
schmidt interpreted it, naturally, to
ring out the old and ring in the
new. It was a virtual statement of
a static Wagner; a denial of growth.
While it greatly enriched the musi-
cal value of the early work, it led
to incongruities in the handling of
dramatic effects.
If we are to believe that an at-
tempt at the best is preferable to
a perfect rendering of the poorer,
Blechschmidt was justified. At any
rate it is unfortunate that such a
early opera as "The Flying Dutch-
man" (it was preceeded in produc-
tion only by "Renzi") should have
been chosen as one of the two Wag-
nerian dramas that Detroit was to
hear this year.
It is for this reason perhaps that
the novel reading was attempted.
Its incongruities resulted from a
very natural conflict of the lyrical
Italian properties of the opera with
the tragic Wagnerian tradition.
It must not be thought that the
performance was dull or stinted. It
was a fine attempt at something
d i f f e r e n t and difficult. Blech-
chmidt's artistic integrity in refus-
ing popularly to profit through an
exploitation of the Italian and nec-
essarily popular elements of "The
Flying Dutchman" was the out-
Istanding element of the perform-
ance. His reading of the score, his
consciousness of rhythmic units
were technically all that could be
demanded, and yet there was a de-
sire to carry out the traditions in-
culcated through years of experi-
ence in the operatic field as It is
manifest in Germany and by a real
love and feeling for the music
which kept the opera on the level
of the best tragedies of Wagner in
point of interpretation.
One felt almost grateful for the
incongruity of the second act
(which is one of the dullest Wagner
ever wrote and totally lacking in
qualities which would make it pos-
sible to be well played in the man-
ner of Wednesday night) in that it
presented an opportunity to hear
Johanna Gadski at her best and
freest. She has undoubtedly one of
the loveliest voices on the operatic
stage. Her reappearance here after
an absence of a generation is an
event of importance.
S. S.F.
THE DENISHAWN DANCERS.
An example of the thoroughness
iwhich characterizes everything that
Ted Shawn attempts, is shown by
the fact that in order to have a
deeper appreciation of music, al-
though his knowledge was by no
means superficial, he has recently
found time to study with Vassily
Savadsky, a graduate of the Impe-
rian Conservatory in Petrograd and
a pupil of Liadov and Glazounov,
foremost Russian composers.
Mr. Shawn has no fondness for
the pretty, sugary melodies so pop-
ular with many dancers. Musically,
he leans strongly toward the mod-
erns and at the moment his ambi-
tion is to give an entire program
{ of the compositions of Seriabin.
This is forecast by "The Divine
Idiot," perhaps his most important
contribution to this season's pro-
gram, danced to the music of the
revolutionary Scriabin.
Mr. Shawn's fine taste i pmusic
will be displayed in the program
which he will share with Ernestine
Day and The Denishawn Dancers1
at Hill auditorium tomorrow night
when the accompaniments will be
furnished by Mary Campbell, an ex-
ceptionally able concert artist.
D. C.
surface, in the gaiety and nervous
distraction of waves at sport, in its
boisterous sensitivity to the power
of the wind. The music satisfies
Debussy's statements about it: ii
evokes that "rannort" he claimrld
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