10
January 2 5, 1923
another occasion. During the giving of his ballet at the Theater des Champs Elysees he had opportunity to verify this fact day after day, when the reception constantly varied from approval to disapproval. This ballet was L’Homme et Son Désir, written to a scenario by Claudel. It was produced by the Swedish Ballet.
Satie is considered by Mr. Milhaud to be a really important composer. His Socrates impresses him as being a work of the first order and he hopes to give it here if the time is not too short for its preparation. Mr. Milhaud proposes also to give not only his own works but some of Satie, Poulenc, Honneger and others. During his stay here he will also lecture at several universities—Princeton, Colum-u ,Ya,ssar• He speaks excellent English and his lectures should be of the greatest interest.
One of his operas, La Brebis Egaré, to a libretto by r rancis Jammes, is to be given at the Opera Comique this spring. He is always amazingly active, producing large and small symphonic works, suites, chamber music, songs, dramatic works with great rapidity, and getting almost immediate performances for everything he writes. He also finds time for the production of works by others, playing and conducting compositions by the moderns, and among other things, gave five Paris performances of Schônberg's Pierrot Lunaire, a work so difficult that it demanded thirty rehearsals.
Speaking of orchestral writing, Mr. Milhaud says that he does not ;feel that there can be a standard orchestration borne of his symphonic works are scored for a small orchestra while others demand the most complete of modern organizations. Mr. Milhaud is soloist with the City Sym-phony Orchestra on January 20 when he will appear both as pianist and conductor.	p
Busy Times at the Eastman School
The Eastman School of Music, at Rochester, makes announcement of two new and important enterprises in Kil-bourn Hall as the New Year opens. “Joseph Bonnet will resume the conduct of his master classes for organ students and this year will use Kilbourn Hall and its great organ for the conduct of these classes. M. Bonnet is a scholar in music as well as a great organist; his teaching, while directed to the needs of his organ playing students, has constant reference to general appreciation, understanding and interpretation of music. The playing students in the classes have made special preparation for these lessons and the criticism by a master of student performance of advanced type is good music education for all music students. Kilbourn Hall affords ideal conditions for listeners at these master classes.
The second enterprise is a series of concerts for chil-dren. This is a phase of education in musical appreciation which the school management believes to be of major importance. One recital will be given by Guy Maier at the piano. A . second recital will be devoted to songs sung in costume and selected with special appeal to children but selected from good song literature; and to harp selections Mona Gondre will be the singer of this program and Elsie boreHe the harpist. The third concert will be given by the Chamber Music Art Society, which will also be heard in the ‘”day evening series of chamber music concerts. A program designed to be of special interest to children will be played.
Student recitals at the Eastman School this year have not been made public events, but in worth of programs and of performance they are of gratifying standard. Recitals have been given as representative of the grades into which the work of the school is scheduled in the catalogue■ there have been recitals by pupils of elementary, intermediate and advanced grades. Thus far fifteen student recitals have been given; those by advanced students in Kilbourn Hall those by students in intermediate and elementary grades in the third floor assembly hall. These student recitals are designed as preparatory to a series of student recitals at a later period m the year, which recitals will be open to the public. Mr. Landow has inaugurated the practice of giving faculty recitals for the students, playing an interest¡!!! pro in Kilbourn Hall on December 18.
Classes in all orchestral instruments are now a part ot the curriculum offered by the school. Opportunity to put an exceptional faculty at the service of students who desire to prepare for orchestral playing is afforded by affiliation with the Eastman Theater and its orchestra. The first section men of the orchestra are experienced masters of their several instruments and of artist rank; they are the teachers of these several instruments in the school. The development of the school orchestra into a capable playing ensemble, in which thorough training under skilled direction is given, in preparation for filling the wide demand for orchestra players of experience and ability, is one of the earnest aims of this school. There has been no adequate training school for the entire range of orchestral playing available to_ students in this country, but one is now in the making in the Eastman School of Music ”
Jeanne de Mare Concludes Series
The last of the series of three musical talks in English ^Jeanne de Mare will be given at the home of Mrs. William J. Washburn, Jr., 141 East Nineteenth street, New York. I he English authors represented will include Cyril Scott, Vaughn Williams, Arnold Bax, Eugene Goossens, Granville Bantock, Lord Birners and G. Holst, while the American authors will include Edward MacDowell, Charles Martin Loeffler, Charles E. Griffes, John Alden Carpenter Henry Coweel and Leo Sowerby.
Sir Henry Heyman 111
Sir Henry Heyman’s many friends will learn with regret that he has had a relapse and is in the Lane Hospital, Stanford University, San Francisco. His present illness has caused him much suffering, but his physicians promise that he will be well enough to return to his home in a lew weeks. Much sympathy will be extended to Sir Henry and best wishes for a speedy recovery.
American Artist Has Splendid Record
In view of the fact that this is John Charles Thomas’ nrst season as a recitalist, a record of nineteen concerts for the present month of January speaks for itself.
MUSICAL COURIER “LES SIX” NOT A GROUP BUT AN IDEA SAYS DARIUS MILHAUD
Regrets That His Stay Here Is Limited to One Month—Considers Satie Important—To Be Heard as Soloist as Well
as Conductor and Lecturer
to what extent the six were organized. And in this way, too, it is nothing new, for French artists and musicians always gathered together into groups of those whose ideas and ideals were in close sympathy, and that has been one of their great strengths.
Regarding the modern style of composition Mr. Milhaud has some very illuminating and interesting ideas. He points out that there are two distinct currents of development, the Teutonic line, which is chromatic and leads to a tonality; and the Latin line which is diatonic and in which melody remains a prominent feature. Mr. Milhaud says that the quarter tone experiments of Alois Huba and others are the natural sequence of the Teutonic chromatic line, but says that the quarter tone does not interest him as a composer simply because it is opposed to his trend of thought. He feels, however, that it is not to be condemned and perhaps has possibilities. However that may be, he feels that it is sure to appeal more to Teutonic chromaticism than to the diatonic feeling of the Latins.
Mr. Milhaud seemed amused at the reception some of his work has been accorded in France and points out that one never can count on the public which is variable, to say the least of it. The public receives his music with hoots and hisses on one occasion, and applauds the same work on
Darius Milhaud, French composer, now in America, was able to spare a few minutes for a talk with a representative of the Musical Courier recently. He is stopping at La Maison Française de Columbia University, 411 West 117th street, where a bright and spacious apartment on the top floor has been placed at his disposal during the month which he is to spend in America.
Mr. Milhaud said that he regretted that he could be here only a month, but that he had engagements for concerts in various parts of Europe that necessitated his return. Naturally one is more interested in what Mr. Milhaud thinks of music in France than his two-day-old opinion of America, and so the usual request for admiration of our skyscrapers and our institutions were omitted.
The first thing that came to mind was “les Six,” the six, that famous group of young French modernists of which one has heard so much, and it was with great astonishment that we learned that the six, as a group, was non-existent, at least in the mind of Mr. Milhaud. To our direct question as to whether, as was stated not long ago, the six had become five through the defection of one member of the group, Mr. Milhaud exclaimed: “Five, six, ten, a hundred if you will. The six is not a group but an idea.”
This is clarifying, for we have often wondered how and
MATURE ARTISTRY YOUTHFUL CHARM

ELIZABETH
LENNOX
CONTRA.LTO
♦
Recitals • OPtAtorio • festivals
♦
Exclusive •.Management
Daniel Mater.
C 'lcolian ׳Building •—. ■Nelv }or/;
Brunswick
!id