THE MICHIGAN DAILY
TUESDAY, MAY 11, 1937
THE MICHIGAN DAILY
I
Edited and managed by students of the University of
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NIGHT EDITOR: WILLIAM SHACKELTON
Lo, The
Poor Liberal. *
WHAT is a liberal?" A cave of the
winds, a man who leaves the room
when the fighting begins, one who thinks some-
thing should be done but does nothing.
The poor liberal has taken a beating, from
the right-and from the left, in the Spring Par-
ley, in recent magazinle articles, everywhere. Erst-
while liberals are now calling themselves "pro-
gressives" which means the same thing but lacks
the flabby connotations of the former tag.
Why the beating? For one thing, as Heywood
Broun put it, "a lot of funny liberals are coming
up out of the cracks these days." Most everyone
can set up shop and hang out a sign as a liberal,
so long as he believes in God and voted for Roose-
velt in the last election. People who wish to
oppose the President's Court Proposal invariably
begin "Though I am a liberal . . ." Socialists are
liberals, most Democrats, and some Republicans.
The Communist party is now convinced that it
will get farther in the long run working with
their milder breatliren, and so many a beard and
bomb is concealed beneath a liberal cassock. The
church is also liberal
You can understand, therefore, why no one
wants to be a liberal.
In his very lively column in the Nation, Broun
has of late taken several jabs at the magazine for
its liberalism. First, he complains, they print
an article on one side, and then they print an
article on the other. "What's the use?" says
Brown. "There are times when a liberal must
close the windows and pull down the shades lest
his mind become a cave of the winds."
In short, Broun wants the Nation to take an
attitude on a specific question, to fight for it,
tooth and nail, hammer and tongs, till the enemy
drops. Enough of this shilly-shallying liberal-
ism! Be another New Masses!
The problem is of course one of definition, and
a definition of liberalism involves both method
and content, as was pointed out in one of the
sessions of the Parley. As a method, liberalism
involves a faith in the function of free in-
quiry. As a doctrine, liberalism might perhaps
be called "experimental collectivism."
With this sketchy attempt at a definition, we
venture to say what few men dare-that Broun
is wrong. For Broun, sick though he is of this
bending over backwards to see both sides, under-
estimates the function of truly liberal journals.
The Nation ought of course to take a stand on
the Court plan, as it has done. It ought not, of
course, to open its columns to anything anyone
has to say on any side. But there are still places
for journals which can serve as arenas in which
ideas can fight between themselves, to let the
victor' arise by virtue of its demonstrable su-
periority as truth. The difference between a
doctrinaire journal such as Broun would like
the Nation to be, and the Nation as it is, is that
the former makes certain assumptions which the
MayFestival
SECOND CONCERT
(Thursday, May 13, 8:30 p.m.)
By WILLIAM J. LICHTENWANGER
OVERTURE to "Leonore" No. 3, Op. 72-Beet-
heven. Of the four overtures which Beet-
hoven composed for his sole opera, Fidelio, the
"Leonore No. 3" is by far the best known-not
in its original capacity as a prelude to the opera,
but as a separate, compact, symphonic peroration
of the dramatic content of the whole work. Wag-
ner, in his essay on Beethoven, wrote: " . .. What
is the dramatic action of the librettist's opera
Leonore but an almost repulsive watering of the
drama we have lived through in the Overture, a
kind of tedious commentary by Gervinus on a
scene of Shakespeare's?"
Yet that the Overture owes its first allegiance
to an organic, symphonic style rather than to a
freer dramatic one is shown by the fact that
after the two off-stage trumpet calls-which
from a dramatic standpoint provide a conclu-
sive climax-Beethoven anti-climactically per-
mits a full recapitulation, in order to satisfy the
purely structural demands for a repetition of the
thematic material.
Although the Leonore No. 3 is known today
mostly as a concert piece, it is frequently played
as an entr'acte in the performance of Fidelio.
RIZE SONG from "The Mastersingers of Nur-
ewburg"-Wagner. Whereas Max, in Der
Fre schutz, acquires his bride as prize in a con-
test of marksmanship, Walther, the young
knight-aspirant to the august guild of the Mas-
tersingers, wins his Eva in a contest of song.
Having beheld a vision of ideal beauty, Walther
transforms his dream into a master-song, with
which, in the final scene of the music drama, he
wins the coveted prize. Conforming to the some-
what strict rules of the Mastersingers, the song
consists of three strophies. The first describes
the wondrous garden wherein Walther first be-
held Eva, his earthly Paradise; the second tells
of the sacred fount which guided his steps to-
ward Parnassus and his inspiring muse; and the
third exalts both Paradise and Parnassus-Love
and Poetry-which to him are combined in the
image of Eva.
First Forging Song from "Siegfried"-Wagner.
Trh scene is the closing one of the first act of
Siegfried, deep in the forest cavern where Mime
has his smithy. Siezing from the groveling and
impotent dwarf the fragments left him of his
father Siegmund's powerful sword, Siegfried sets
to work to forge Nothung anew. As he works,
above the groan of the bellows and the roar of
the fire he sings a boisterous and exhilarating
apostrophe to the blade with which -he is to
conquer the dragon and win his way to the
sleeping Brunhilde. This first, song, sung while
Siegfried is filing and melting the fragments of
steel preparatory to the actual forging, is often
known as the Song of the Bellows, to distinguish
it from the second, or Forging Song, with which
he later accompanies his blows at the anvil.
The Seasons-Eric Fogg. By the age of seven-
teen Schubert had written The Erl King, and
Mendelssohn the Midsummer Night's Dream
Overture. At that age Eric Fogg had composed
nothing which could quite compare with those
masterpieces, but what he lacked in quality he
made up for in quantity, with 60 opus numbers
to his name. Born at Manchester, England, in
1903, Fogg began at the age of ten to gather mu-
sical experience, which came from his activities
as choir boy and later as organist, as well as
from his work in composition. His outstanding
teacher in the latter field was Granville Bantock,
who led him away from his earlier dependence
on Stravinsky toward a more personal and elastic
style.
THE SEASONS, which so far is Fogg's most
comprehensive work, was composed for the
Leeds Festival of 1931. For chorus and orches-
tra, with no soloists, the work is a comparatively
literal setting of the eighteenth century poems of
William Blake dealing with each of the four sea-
sons. It is, however, more a choral symphonic
poem than a vocal work with orchestral accom-
paniment. The extensive modern orchestra re-
quired is used actively both in the vocal passages
and in the numerous introductions and inter-
ludes, as a vital agent in translating into musical
terms the spirit and' effect of the poems. Thus
the contrasting moods of the various poems are
admirably caught-the lyrical passion of Spring,
the more indolent reverie of Summer, the robust
vigor of Autumn, and the stark,'brutal bleakness
of Winter.
Excerpts from "Parsifal"-Wag'ner. Perhaps
no other single musical work has occasioned the
spilling of so much ink as has Parsifal-and
perhaps there is no other piece of music which
has greater need of extra-musical data as an
aid to a full understanding of its virtues. It
has been said that Parsifal is the final expres-
sion of Wagner's philosophical and religious con-
ceptions; that it represents a sort of musical
death-bed conversion (the score was finished in
/1882, the seventieth and last year of the com-
poser's life), a return to Christian spirituality
after the pagan mythology of The Ring and the
Schopenhauerian philosophy of Tristan.
And, although Parsifal gives evidence of Budd-
histic and Schopenhauerian influence as well X16
Christian, it is obvious that it is much more close-
ly related to the Christian religion than are any,
other of Wagner's works. Not only is it based
on the myths relating to the Holy Cup from
which Christ drank at the Last Supper, but
the term used by the composer to designate it
is not "opera," "music drama," or even "Fes-
tival drama," but "stage consecrating festival
drama." Thus the stage becomes, for Wagner,
not the usual setting for entertainment or even
for ordinary artistic enjoyment, but the medium
for an expression of the most exalted character
-akin to the theatre of the ancient Greeks,
which was opened only en sacred feast days, and
THE FORUM
Letters published in this column should not be
construed as expressing the editorial opinion of The
Daily. Anonymous contributions will be disregarded.
The names of communicants will, however, be regarded
as confidential upon request. Contributors are asked
to be brief, the editors reserving the right to condense
all letters of more than 300 words and to accept or
rejecttletters upon the criteria of generalaeditorial
importance and interest to the campus.
To Keep Us Out Of War... . .
To the Editor :
One way to help maintain peace-if that is at
all possible-is to enact a law eliminating war
profits. That is the great need of the hour. Sev-
eral bills before Congress aim to lay down rules'
and regulations' for the country in wartime.
One of these bills-the Sheppard-Hill bill-is
easy on capital and contains no clause concern-
ing war profits; the other-the Nye-Maverick
bill-shows less favor to capital and advocates
high taxes. Both bills are so worded as to lead
readily to dictatorship in wartime.
A second way to help insure peace is the ref-
erendum by the people on the grave decision of
war. Such a referendum is all the more justified
since 'in modern warfare not only the fighting
men but the entire civilian population is liable,
to suffer greatly as was seen abundantly during
the World War and may now be seen in the
present ghastly war in Spain. Every available
means should be used to keep us out of war-
the greatest of all crimes. In an article in
the Nation of May 1, 1937, Mr. Oswald Garrison
Villard predicts that if we do get into the next
war, it will mean the disappearance of our de-
mocracy. Of all the reasons for our keeping out
of the next war, the threat to our democracy is
the strongest.
In this connection it is worth noting that in
Canada a law was recently enacted according
to which the government is in complete control
of the munitions industry and all raw material
that may be used in the manufacture of arma-
ments, no airplane, no revolver, no poison gas can
be exported without a license from the govern-
ment, in peace as well as in war. It will supervise
the 'traffic down to, the smallest detail and
may perhaps even direct the output of factories.
France has done even better than Canada in
that the government has taken over the large
Schneider Creusot munition works.
Why is the munitions industry in the United
States in the hands of private firms?
-M. Levi.
THE SCREEN
Personal
Property
DRAMA
Publication in the Bulletin is cont
Program Notes iverity. Copy received at the e
Prc~i'fm 1 t~PS tu 7:'30; 11:00 am. o Saturdy.
By KENNETH ROWE
Of the English Department) (Continued from Page 2) -
The 1937 Ann Arbor Dramatic Sea- Department of Romance Languages
son approaches, and with its passing a p12 R.L.) at least one week inuad-
second college generation will have van2e.L.sto b s oe n dd
come and gone since the year when vance. Lists of books recommendedS
Robert Henderson brought Margaret by the various departments are ob-
Anglin in Antigone and Mrs. Richard tamable at this office.
Mansfield in The Royal Family to It is desirable that candidates for
Ann Arbor. One realizes that the the doctorate prepare to satisfy thisd
Dramatic Season is now an institu- r equirement at the earliest possibleF
tion with a history. date. A brief statement of the na-
That first 1930 season originated ture of the requirement, which will
in the imagination and was made ac- he found helpful, may be obtainedt
tuality by the energy of Robert Hen- at the office of the Department, and
derson, who has been known for his further inquiries may be addressed
single-minded devotion to the the- to Mr. L. F. Dow (100 R.L., Satur-L
atre from the days when he acted, 'ays at 10 a.m. and by appointment).
organized productions, and wrote the This announcement applies only
Daily drama column as a student at to candidates in the following de-
the University of Michigan. If we are partments: Ancient and Modern
ever inclined to take the opportunity Languages and Literatures, History,t
for five weeks each spring of con- Economics, Sociology, Political Sci-f
tinuous professional theatre, with ence, Philosophy, Education, Speech,s
distinguished casts and plays, for Journalism.
granted as belonging, somehow, bys
right to Ann Arbor, we should looko
back to 1930. The announcement Concert
that Miss Anglin, especially, should May Festival Concerts: May Fes-
come to Ann Arbor in Antigone was ival concerts will take place as fol-2
almost unbelievable. Miss Anglin was lrsks
one of the foremost actresses of the lWdnesday May 12 8:30 p.m. Kir-
American theatre, and Antigone was ,ten Flagstad, soloist. Philadelphia
the Dart of all parts in which one Orchestra, Eugene Ormandy, con-
would wish to see her. Mr. Hen-sc
derson had no American precedents doctor.a
in 1930 for creating such a drama Thursday, May 13, 8:30 n.m. Lau-t
festival. Salzburg and Malvern were :itz Melchior, soloist. Miscellaneous
in his mind; the theatre in the United orchestral numbers. First Americane
States was at the height, or depth, performance of "The Seasons" by
of its concentration in New York City. logg. Excerpts from Wagner's "Pa-
Two years later summer theatres isifal." Philadelphia Orchestra and
with professional casts rather sud- the Choral Union; Eugene Ormandy
denly blossomed forth in the East, mnd Earl V. Moore, conductors.
and the movement has been grow- Friday, May 14, 2:30 p.m. EugeneI
ing ever since. They are still con- List, pianist, soloist. Miscellaneoust
centrated, for the most part, in the wrchestral numbers. Young People'sc
East, and the Ann Arbor season, fol- -estival Chorus and the Philadelphia1
lowing the original conception of Mr. Orchestra. Eugene Ormandy andr
Henderson, maintains a unique char- Roxy Cowin, conductors.r
acter. The summer theatres orig- Friday, May 14, 8:30 p.m. Elisabeth
inated and continue to exist very gen- Rethberg and Ezio Pinza, soloists.
erally for the sake of the actors, a Miscellaneous, artist program. Phila-
combination of vacation under the delphia Orchestra, Eugene Ormandy,f
apple blossoms, a means of subsis- conductor.t
tence, and practice ground for pro- Saturday, May 15, 2:30 p.m. Jo-i
fessional people of the theatre. The reph Knitzer, violinist, soloist. Phil-r
Ann Arbor season is for the audi- adelphia Orchestra, Jose Iturbi, con-
ence, essentially a festival like those ductor.t
I at Salzburg and Malvern, an annual Saturday, May 15, 8:30 p.m. Solo-t
feast of dramas a community event. ists: Elisabeth Rethberg, Thelmat
Like its European predecessors, and Lewis, Marion Telva, Arthur Carron,
like our own older May Music Fes- Carlo Morelli, Ezio Pinza. Verdi's
tival, the Ann Arbor dramatic sea- 'Aida" with Philadelphia Orchestra
son has expanded the community and the Choral Union. Earl V. Moore,F
bounds, and brings together an audi- conductor.
ence from neighboring cities within a dc .
radius of well over a hundred miles.c
Mr. Henderson conceived of some- Lectures
thing more than a stock or a reper-'
tory company. He plans a series of The Henry Russel Lecture: Dr.
special events, for which distin- Charles Wallis Edmunds, professor oft
guished artist are invited for special Materia Medica and Therapeutics,7
parts, sometimes, as Mist Anglin in will deliver the annual Henry Russelt
Antigone, a part for which the actor Lecture at 4:15 p.m., Thursday, May
>r actress is already famous, some- 13, in the Natural Science Auditorium.
times for a happy conjunction of His subject will be "Experimentalx
artist and part which Mr. Hender- Studies on Diphtheria Toxin." On
son has imagined but which has never this occasion also announcement of
before been realized. the Henry Russel Award for 1936-37
The history of the Dramatic Sea- will be made.1
son has been continuously creative.
The Electra, with Blanche Yurka and University Lecture: Prof. Napierc
Martha Graham, was startling, espe- Wilt of the University of Chicago,
cially after Margaret Anglin's class- will lecture on "Bartley Campbell,
ical rendering of Greek tragedy the American Dramatist" today at 4:15v
preceding year. Miss Yurka remind- p.m. in 1025 Angell Hall. The public'r
ed us of the primitive and savage is cordially invited.
originsof the themes of Greek trag-
edy; she was pre-Homeric. The University Lectures: On May
dances of Martha Graham, in the 11 and 12, Dr. W. H. Bucher, chair-.
modern primitivist mode, in place of man of the department of geologyF
the traditional chorus, were exactly and geography, University of Cin-
attuned in uncouth and bitter pas- cinnati, and exchange professor, will
sion to Miss Yurka's interpretation, lecture on the deformation of ther
That production of Electra was the- earth's crust. Following are the titles,f
atrical history, experimental and con- times, and places of his lectures.
troversial, certainly an exciting ad- * * *
dition to experience of drama. P 1. University Lecture: The Hartl
With Violet Heming and Tom Pow-~ Mountain Overthrust today at 4:15
ers in Private Lives, Mr. Henderson p.m. in Natural Science Auditorium.c
broke the superstition that Noel Cow- 2. Orogenic deformation and the
ard's play depended upon the acting nature of horizontal movements,
of Noel Coward and Gertrude Law- today at 8 p.m. in Room 2054, Na-
rence for success. The play was bril- todayat 8cenp.minRo 204Na
liantlyfdone here, and Miss Hemingtural Science.
was better than Miss Lawrence in ;3. Epeirogenic deformation and thet
the part. The demonstration was nature of its major rhythm, Wednes-
continued with Design for Living the day, May 12, at 4:15 p.m. in Room
following year, 1932. Mr. Coward 2054, Natural Science.
writes too well for his parts to de- UI
pend upon a single interpreter. It is University Lecture: Bertil Ohlin,
a privilege to see an actress so charm- professor of economics in the School
ing, and so meticulous an artist, as of Business Administration, Stock-
Patricia Collinge at any time, but the holm, Sweden, will lecture on "Swe- c
selection of Shaw's Candida for her dish Economic Policy in Boom and1
seemed especially fortunte. In fact, Depression" at 4:15 p.m. on Monday,
from the many Candidas I have seen, May 17, in Natural Science Audi-!
it is Candida as created by Miss Col- torium. The public is cordially in-
linge that remains Candida in my vited.r
mind. Incidentally, Mr. Henderson
played Marchbanks, and when the Mathematics Lectures: Dr. J. S.
Ann Arbor Candida went to Boston, Neyman of University College, Lon-j
the late H. T. Parker of the Boston don, will give a series of three lee-
Transcript stated his Marchbanks to! tures on the "Theory of Statistics."
be the best that had been seen in The first lecture of the series will be
this country. An instance of casting given on Wednesday, May 12, at 4:15,
genius was Violet Kemble-Cooper in p.m. in Room 3017 Angell Hall. Sub-
The Vinegar Tree and later in The sequent lectures will probably occur
Mad Hopes. Miss Kemble-Cooper on Thursday and Friday at the same3
was so distinguished as a great ac- time.
tress of tragic dignity and passion
that the parts seemed almost un-xhibitionI
imaginable for her. She was revealed
as a great comedienne: in fact, one Exhibition, College of Architec-
wanted to see her in all the tradi- ExitonCleg ofActc-
tional parts of Mary Boland. One ture: An exhibition of the student1
could go on with Madame Leon~tovichl1work in design from member schools
and Rollo Peters in And So To Be, of the Association of Collegiate
and many others, but undoubtedly Schools of Architecture, among which+
the greatest achievement was the in- is mcluded the University of Michi-
troduction of Nazimova as Mrs. Alv- ga College of Architecture, is being
ing in Ghosts, in 1935. Nazimova has in the third floor exhibition
AL BUJILETIN
tructive notice to ali members of the
.e t. Asitat to th.SPrtsid..t
Romance Languages Journal Club:
The last meeting of this year will take
place today at 4:10 p.m. in Room 108
R.L.
The program will be the following:
Some recent studies of the Song of
Roland by Professor Knudson.
Une edition modele: Correspon-
dance Generale de Sainte-Beuve par
F. Bonnerot by Professor Denkinger.
Psychology Journal Club meets
this evening at 7:45 p.m. in Room
3126, Natural Science Building.
Mr. Gebhard will report on
Lewin, and Mr. Gilbert will reort
on J. F. Brown.
The Mathematics Club will meet
this evening at 8 p.m. in Room 3201
Angell Hall. Mr,. R. W. Wagner will
speak on "Multiple valued functions
in matrix spaces." Mr. J. V. Wehau-
sen will speak on "Some properties
of topological linear spaces."
The Deutscher Verein meets today
at the Michigan Union in Rooms 319-
21. The meeting begins promptly at
8 p.m. The business meeting will be
followed by dancing.
The U. of M. Skippers, a 5-piece or-
chestra will furnish the music. The
meeting is open to all who are in-
terested. Refreshments will be served.
The purpose of the meeting is to
elect off ioers 'for next year.
Adelphi House of Representatives.
meets this evening at 7:30 p.m. in
the Adelphi Room. Election of the
Honor Award winner will be made at
that time as well as nomination of
officers. The meeting is a very im-
portant one, and will be short. All
members areurged to attend this
meeting which is the last regular
meeting of the year.
A.S.M.E. Members: Election of of-
ficers for next year will be held
this evening, at 7:30 p.m. in the
Michigan Union instead of Wednes-
day evening as previously planned.
All members are urged to attend
this important meeting, for details of
the trip into Detroit on May 20 will
be given.
Kappa Kappa Psi: Regular meeting
of Kappa Kappa Psi, National Band
Fraternity, will be in the Union at
noon today. Formal pledging will be
conducted.
The Scandinavian Student Club
will meet at the Union at 8 p.m. today
to elect officers for the coming year.
The room number will be posted on
the Union bulletin board.
Kappa Phi: Meeting today at 5:15
p.m. at Stalker Hall.
Catholic Students: There will be a
Chapel Benefit Dance from 8 p.m. to
10:30 p.m. this evening for Catholic
students and their friends in the au-
ditorium of St. Mary's Student
Chapel. Late permission until 11
p.m. has been obtained for University
women attending the affair. Girls
need not be escorted.
Lutheran Bible Class will meet this
evening at 7:15 p.m. at the League.
Everyone is invited to come.
Key Dance dommittee will meet to-
night at 7:30 p.m. at Dean Ray's of-
fice.
Christian S c i e n c e Organization
meets tonight at the chapel of th
Michigan League at 8:15 p.m. Stu-
dents and faculty members are in-
vited to attend.
The Bibliophiles, Faculty Women's
Club, will meet today at 2:30 p.m. at
the Michigan League, hostesses Mrs.
Edwin E. Slosson and Mrs. Preston
W. Slosson.
Coming Events
A.S.C.E. Election Meeting: The stu-
dent chapter of the American Society
of Civil Engineers will hold its an-
nual election meeting in Room 311
West' Engineering Building, Wednes-
day night, May 12, at 7:30 p.m. There
is much important business to be dis-
cussed, and it is desirable that all
members be there so as to make next
year's officers representative of the
organization.
Michigan Technic Tryouts: The
examination for admission to the staff
of The Michigan Technic will be
held Wednesday night, May 12, at
7:30 p.m. in Room 3046 East En-
gineering Building. Please bringna
large, size bluebook. Your letters of
application are due immediately be-
fore the examination starts.
The Phi Eta Sigma initiation will
be held this Wednesday, May 12, in
the Union at 5 p.m. Each initiate
must bring a large white handker-
chief.
Freshman Project: The grandchil-
dfren of the cast will rehearse at 4:30
AT THE MICHIGAN
W. S. Van Dyke, ace comedy director of Holl,.r
wood, has turned in another fast and clever item
in this light piece, perhaps one of his best.
Senator-kissing Jean Harlow, who makes up in
personality what she lacks in polish, carries off
the role of creditor=pursued widow of an English
big game hunter with her customary verve, while
Robert Taylor plays the black sheep of Piccadilly
Circus in the usual Taylor manner with the as-
sistance of some well-worded script material.
Taylor, just finished with a four-months' stay
in jail, finds himself persona hardly grata at
home where preparations for white sheep brother
Reginald Owen's wedding are in the offing. He
prefers London penniless to a fresh (300 pounds
sterling) start in Australia offered by his father,
E. E. Clive, and leaves. Stopping for a cocktail
at his favorite hotel, whom does he run into but
Harlow herself, pursues her to the opera and
subsequently home, where a bailiff whose duty,
is to keep Jean from cheating on her grocery bills
swears him in as a sheriff's officer and leaves him
to keep an eye on the furniture. Naturally it
develops that brother Owen's fiancee and Miss
Harlow are only one person, and it's no surprise
who gets her in the end.
Besides the superb directing and good dialogue,
there is some fairly amusing if standard slap-
stick on English manners, and a tricky implausi-
bility about the whole thing that keeps it from
going stale.
The news reel includes shots of the Hinden-
burg disaster, among the best news photography
since the assassination of Alexander of Jugo-
slavia in 1934.
in itself can not. Music can and does express
the sublime emotions which are the basis of
religion, but intellectual dogmas are beyond its
realm-as is shown by Strauss' attempt at a mu-
sical translation of Nietsche in Thus Spake Zara-,
thustra. And what is true of that work is true
of Wagner's music: its success depends upon its
power as sheer music, devoid of all intellectual
trimmings. Although Wagner argued with all
his might against it, his extra-musical theories
were but the scaffolding by the aid of which his
mighty musical edifices were erected; not, as he
presumably thought, the reasons for their erec-"
tion.
The selections to be played on this program
are taken from each of the three acts of Parsifal
utilizing certain portions which are of the great-
est worth as abstract music, and closing each
time with the conclusion of the act. From Act I
has been selected the music accompanying the.
scenic transformation, (accomplished by means
of rolled scenery moving across the stage) from a
forest glade to a hall in the style of the Holy
Grail, and that of the scene of the unveiling of
the Cup and the consumamtion of the Eucharist.
In Act II the start is made at the turning point
I th +Ita nnP ro Aa rnn ah ih tnnr,,s'. i nno'nA