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Pavlowas 1914^15 RepertoireFLORA'S AWAKENING

An absolutely new ballet of mytho-logical character. Arranged by M.Clustine. Music by Drigo, scenesdesigned by Rothenstein.

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PUPPEN^FEE (The Fairy Doll)A charming novelty never before per-formed here by Pavlowa. Arrangedby Clustine. Music by Bayer, thescenery designed by Dobuginsky.

WALPURGIS-NIGHTThe St. Petersburg version of thiselaborate ballet from Gounod'sFaust. Arranged by Clustine, set-tings from designs by the Englishartist Sime. ^1

>iSAMARILLA

A new ballet, based on a bit ofGypsy folk-lore. Music by Drigo,Glazounow and Dargomiszki, set-tings from designs by Sime.

THE SEVEN DAUGHTERS OFTHE GHOST KINGA new ballet by M. Fokine, withmusic by Spendiarovv.; The effect-ive seti itig. afte*: design '.by the splen-did artist Rothen.stein.

the' MAGIC FLUTEA romantic ballet with a prettylove-story. Arranged by MariusPepita, late director of the Rus-sian Ballet System. Music by Drigo. Tf

LES PRELUDESThe futuristic ballet which made aprofound impression during Mile.Pavlowa's last season's tour. Musicby Liszt. Arranged by Fokine.

THE DANCE OF TODAYIntroducing Mile. Pavlowa's threenew society-dances, the Pavlowana,the Gavotte Renaissance and theCzarina Waltz. Arranged byClustine.

Mile. Pavlowa's 1914-15 American TourUnder the Direction ofPavlowa Ballet, Inc.

Max RabinofF, Managing DirectorrtOt)aart...i* '.s'f tiifi.


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ALL lovers of whatever is truly beautiful,, whether they be connoisseurs or not, recog-nize Mile. Anna Pavlowa as the supreme interpre-ter of the dance art in its every detail. The con-sensus of expert and general public opinion accordsto this distinguished Russian premiere danseuse aposition such as has never before been occupiedby any great predecessor in former decades.The art of the dance, since Anna Pavlowa'sadvent into a place of conspicuous importance, hascome to mean more than at any other period. InAmerica, especially, has this been particularlynoticeable, for not until Mile. Pavlowa made herfirst visit to this country in 1910 did the peopleknow the dance in its true art form. Then it wasdiscovered that apart from superlative dancingability other attributes required by a great artistare dramatic expressiveness of the highest order.As the American public became acquaintedwith the endeavors of Mile. Pavlowa they dis-covered that the Russian ballets represented adistinct and marked advance over those ballets of

other schools. Every ballet presented by Mile.Pavlowa and her company was revealed as a per-fect art unit consisting of the joining of drama(composed of dancing and pantomime), music andartthe latter comprising settings and costumes.The strength of Mile. Pavlowa's organizationwas such as to establish a new standard in similarefforts. Apart from the dramatic and terpsi-chorean skill of each member, there was a sym-phony orchestra, scenes and costumes of the sortdemanded in grand opera, and artistic departmentheads ranking among the most capable in theirprofessions. Under conditions such as these theofferings of Mile. Pavlowa and her associatescarried a universal appeal.This season, her third tour of the country,brings the largest and most perfect organizationMile. Pavlowa has ever assembled, and the novel-ties to be introduced together with the generalfeatures also planned should make the accomplish-ment the finest and most pretentious in thisartist's notable career.

Walpurgis-NightOPERA-GOERS

of this country who are famil-iar with their "Faust " doubtless are awarethat an elaborate ballet, known as the Walpurgis-

Night, was designed for use in the presentation ofthis work; but unless they chanced to be in St.Petersburg, Moscow or Paris when it was giventhey probably have never seen it.Gounod wrote some of his most beautiful musicfor this ballet. The great composer always feltthat, while its introduction in the opera was notessential to the unfolding of the story, it servedto round out a performance; to make it morecomplete and satis-fying to admirersof all the arts.

With the excep-tion of permanentopera organiza-tions in the threecities mentioned,which fortunatelypossessed a balletequipment of theexceptional skilland size requiredfor so vast a cho-reographic under-taking, few othercompanies givingopera have attemp-ted to interpret theWalpurgis -Nightballet for its pa-trons. The first scene in the new ballet, Walpurgis'Night. Designed by Sidney H. Sime.an English artist of marked originality. Executed by W. M. Harvey

For more than two yea' s, Mile; , Pa.v;l.ov?d has.wished to give the American public an opportunityto become acquainted with what she regards oneof the finest ballet achievements of any time. Inher examination of the original ballet, somethingover a twelvemonth since, the premiere danseusegradually developed a belief that there were pos-sibilities for an improvement, even, on a verygreat work.When at last she decided to start preparationsfor the production of Walpurgis-Night, Mile.Pavlowa enlisted the aid of M. Ivan Clustine,

for many yearsmaitre de ballet atthe Imperial OperaHouses of St.Petersburg andMoscow, and forthe past severalseasons in absolutecharge of everyphase of balletpresentation at theParis Grand Opera.M. Clustine(who is making hisfirst visit to thiscountry during thepresent season asmaitre de balletand one of the lead-ing members ofMile. Pavlowa'sorganization) un-

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dertook to reconstruct Walpurgis-Night.His success was so great that in theform of its interpretation it becomesunquestionably the superior of the orig-inal. Eminent connoisseurs who haveseen Mile. Pavlowa and her supportingcompany in Walpurgis-Night contendthat it is one of the finest achievementsthat stand to her already large artisticcredit.

As a fit setting is essential for theadequate reflection of any gem, so, by asimilar token, must the scenery and thecostumes utilized in a pretentious balletconform in every detail to the demands.M. Clustine's arrangement of Walpurgis-Night is in a single act, but it calls fortwo scenes.

The first depicts a portion of a vastforest, near the summit of the SybilMountains, which is startling in theeffectiveness with which that splendidEnglish artist, Sidney H. Sime, haspainted huge tree-lriinks against which humanfigures appear as-pygrnies. The second scene dis-closes the Temple of .Apollo on Olympus, whereraast at iact fnds himself with Helen, who hasbeen sought for his charge by Mephistopheles inan effort to cause memories of Marguerite tofade.

That these two creations of scenic art rank withthe most stunning ever executed is the opinion ofall who have seen them. To the expert, the daringmass'ng of purples and kindred sombre tones usedin fashioning the painted Forest atop the SybilMountains represents a supreme touch; a degreeof appreciation which the public has shared. TheTemple of Apollo, admirably conceived by theartist, is no less faithful to traditions in its classi-cally drawn lines than in the harmonious blendingof the scheme of colors.The chief characters in the pantomimic actionof the Walpurgis-Night ballet are Helen of Troy(Mile. Pavlowa), Faust and Mephistopheles. Asthe curtain rises the two last mentioned personagesare engaged in a conversation, which is of courseconveyed to the audience in pantomime. Faust,in despair at the loss of Marguerite, shows but aslight interest in the latest scheming of his Mephisto-phelian comrade. To quote Goethe himself:"Him can no pleasure sate, no bliss suffice.Thus ever after changing forms he springeth.Even to this last sorry empty trice.Poor wretch, with all his soul he clingeth.Me did he sturdily withstandTime triumphs, lies the graybeard in the sand.The clock stands still."

The Hall of Apollo, on Olympus; second scene in Walpurgis-Night. An effectivesetting affording a fine contrast with the one preceding

This speech comes, of course, at the close ofFaust's worldly existence, in Goethe's poeticmasterpiece; yet it so truly represents the charac-ter of Faust that its reprinting serves well to fullyemphasize it.Though altered from the position accorded itin the Goethe workfor the purposes deemedartistically permissible by M. Clustine in arrang-ing the balletthe opening scene prepares the wayfor some of the most beautiful dancing yet seen.The costumes of Orley De Carva form an integralpart of the color scheme, and here, as well as in thesecond scene, they call forth admiration of thehighest sort.

in the concluding half of Mile. Pavlowa's Wal-purgis-Night, the open space before Apollo'sTemple offers all that a choreographic director offirst rank would desire for his endeavors. In orderto win Helen (the Ideal of Beauty) Goethe's com-mentators assert that it was intended that Faustshould pass, by successive steps, through thevarious phases leading up to the fruition of suchdesire. The translation of this mental process intosensible symbols is accomplished by carryingFaust on a visit to the phantom Greek world, thelegions of Hellenic myth.The fullest resources of ballet possibilities arerevealed in this second scene of M. Clustine sarrangement of Walpurgis-Night. As Helen,Mile. Pavlowa has a role that demands more thanthe ability to dance superlatively. While thisability is imperative it is the dramatic expressionof the character assumed that requires the mostsubtle handling; and, finally, the joining of pan-tomime and dance arts.


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Flora's Awakening

Fron Teneram s statueof Flora

WHEN Flora's Awakening wasproduced for the first time, atthe Imperial Theatre of Peter-hof, it created a profound im-pression.

Although the arrangementof the material by that distin-guished maitre de ballet, M.Ivan Clustine, proved a loftyartistic achievement the pres-entation of this one-act choreo-graphic creation attractedparticular attention to theaccomplishment of the artistwho had devised and executedthe settings and the costumes.Since that occasion AlbertRothenstein has been accordeda place approaching that sharedby those two celebrated scenicartists, MM. Leon Bakst andBoris Anisfeld.

Like his more widely-known confreres, Mr.Rothenstein, whose place of residence is London,is a colorist of striking originality. In Flora'sAwakening, Mr. Rothenstein used brush and pig-ments with such superlative skill that his com-pleted task represented a garden of singularloveliness, beyond which, in the distance, hills areportrayed in a manner that imparts to the entirescene a perspective of rare artistic balance anddepth.The character of his theme demanding soft-ness, Mr. Rothenstein has sought conscientiously(and with admitted triumph) to keep his tints attheir proper tonal pitches. In this, and the ad-mirable drawing of flowers, foliage, treesand hillsides, the new scenic master risesto undoubted heights.The beginning of the ballet disclosesFlora (Mile. Pavlowa) and her nymphslying asleep under the blooming bushesin the garden; and watching over themis Diana, Goddess of the Night. Pres-ently dawn lightens the sky, and Dianadisappears. As daylight breaks the airbecomes cooler, with good reason, forBoreas in passing breathes icily. Withshivers the nymphs awake, and in frightseek shelter under nearby leafy branches.Boreas has vanished, but in his wakehe leaves a cold dew. Here there trans-pires a pretty terpsichorean bit in theform of dancers who, as "Dew, " flitabout carrying amphors filled with sil-very liquid which they sprinkle overFlora and her nymphs. Under thisnewer suffering] Flora appeals to Aurora

for alleviation. In response Aurora comes, andwith caresses comforts Flora, assuring her of thenearness of Apollo, God of the Day, whose arrivalwill insure relief.

Preceded by a luminous light in which Auroragradually fades Apollo appears, radiating warmthand reviving everything about him. He then sum-mons Zephyr, who obeys, attended by Cupid andhis Cherubs. Charmed by the beauty of Flora,and conscious that it is "the will of the Gods,"Apollo declares that to insure her complete happi-ness she and Zephyr shall henceforth be united.In the expression of joy following on this announce-ment a Pas d'ensemble takes place in which Flora,Zephyr, Apollo, Cupid, Cherubs and Nymphsparticipate.As the dance concludes Mercury enters uponthe scene to tell of the coming of Ganymede andHebe. Dispatched by Jupiter they bear a cupfilled with nectar which bestows upon those whodrink it eternal youth. Quaffing, Flora and Zephyryield to unrestrained happiness in a bacchanaliandance; and this progresses into a procession com-posed of Satyrs, Bacchantes, Bacchants, Faunsand Sylvans adorned at the end with the chariotbearing Bacchus and Arianne. The close of thiseffective ballet comprises a Grand Pas in whichthe chief participants are Flora, Zephyr, Apollo,Cupid, Ganymede, Hebe, Mercury and all thosesave Bacchus and Arianneof the procession.The music written for Flora's Awakening byRichard Drigo is scarcely less appropriate thanthe settings and costumes reflected by the art ofMr. Rothenstein. Rich in melody, abundant incontrast which accurately suggests the variety ofmoods revealed in the action, it is admirably scored.

One of the finest specimens of the scenic-artist's craft yet shownthe setting for Flora'sAwakening. Designed by Albert Rothenstein. executed by W. M. Karvey


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Alexander VolininePremier Danseur Clasiique

Some Leading Members in the CompanyALEXANDER VOLININE, premier danseur classique of the Pavlowa. Imperial Russian Ballet, is one of several notable personalities whoare members of this season's important organization. This fine artist stillholds his post of premier danseur classique at the Imperial Opera House,Moscow, and he is regarded by experts as one of the first two or threemasculine premiers now living. Many critics feel that M. Volinine is themost graceful classique danseur this country has yet seen, and that hisfinished methods are incomparable among his colleagues. Another splen-did artist, who is to be seen as a soloist, is Tamara Svirskaia, also a giftedpianist,

and first gold-medalist at the Munich Academy of Music.As the master who guides a ship is all-important to its successful naviga-tion so, too, is the musical conductor of a great ballet organization adominant factor in its triumphs. Once again this position will be filledby Theodore Stier, conductor of the London Bechstein Hall SymphonyOrchestra, whose splendid abilities have been fully demonstrated duringprevious Pavlowa tours.Two other members of Mile. Pavlowa's 1914-1915 organizationmani-festly the largest and greatest she has yet hadwho are personalities areStephina Plaskowieszka, premiere danseuse classique, and Stasia Kuhn,premiere danseuse caractere. Miles. Plaskowieszka and Kuhn are pre-mieres at the Warsaw Imperial Opera House.

MLLE. pavlowa in the morning-room of Ivy House, her London home. This photograph vv.is t.iken the morning after the galaperformance at the Palace Theatre when King Alfonso, of Spain, presented the distinguished artist with adiamond and' ruby bracelet designed to be worn about the ankle


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Puppen-Fee (The Fairy Doll)MANY years have elapsed since thischarming ballet was given inAmerica. In those days the fancifulstory, and the details surrounding itsunfolding on the stage, always broughtdelight. While the essentials of theoriginal Puppen-Fee are still a portionof the ballet Mile. Pavlowa and hercompany are re-introducing here thisseason, the arrangement of M. Clustine(known as the St. Petersburg version),and the almost perfect execution byMistislav Dobuginsky of Bakst's newidea of what the scenery should reallybe, make these presentations singularlyunique.Each of the two different scenes ofthe interior of a Parisian toy-shop in theearly thirties, which form the single actof Puppen-Fee, are splendid examples ofscenic art as promulgated by the greatBakst. The vivid contrasting of colorsis utilized in both settings, and to the advantageof the pictures which the artist has endeavored sosuccessfully to create. With this background,against which M. Dobuginsky has placed a sec-ondary color scheme in the treatment of the cos-tumes, and Joseph Bayer's melodious music, theprincipals and supporting associates appearing inthe action are provided with every factor necessaryfor their purpose.This action receives its initial impulse as thecurtain first ascends. The shop-keeper, busy inmaking his wares still more attractive, movesswiftly about. A customer enters, then another,and yet one more; each in turn receiving the

Second scene in Puppen-Fc'e. 1 liu .;.iher wand. Designed by Dobuginsky.

In Puppen-Fee, that admirable artist. Mistislav Dobuginsky. has succeeded in depictinga toy-shop appealing to folk of every age. Executed by W. M. Harvey

attention due. Finally through the door comesan Englishman, very evidently a man of wealth,accompanied by his wife. He makes known hisdesire to purchase a doll, but with the stipulationthat in every way it shall be unusual.

Dolls of various sizes and value, one afteranother, are shown to the Englishman, none ofwhich particularly appeal to his fancy. In responseto an inquiry for something finer the shop-keeperadmits that he has a very rare doll, but that hecould not consent to part with her unless for a largeconsideration. The doll, which of course is Puppen-Fee, is brought out for the Englishman's inspection.Delighted, he pays the agreed-upon price, and or-

dering that his purchase be sent to hishotel departs.The second scene represents anotherview of the interior of the toy-shop, andtakes place at night after business hours.In the midst of silence Puppen-Fee, con-scious that she must take leave of hercompanions next morning, comes fromher case and waving her fairy-wandturns the various other dolls represent-ing types of many nationalities intoanimated personages. This feature isone of the most elaborate ever attempted,the dancers being made up and cos-tumed with such skill that the illusionis complete to the last detail. Then allparticipate in a dance, the lights growfainter and Puppen-Fee returns to herown place. The role of the Fairy Dollis one of the best in Mile. Pavlowa'srepertoire, and in it her success has beennotably pronounced.

^1 U;l- i^j ^i.'.p ..... ;. liiL- fair>' doll wavesExecuted by W. M. Harvey


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A mar I 11aTHOUGH given but a single performance inthis country, Amarilla on that occasion broughtpraise from the critics and public acclaim. Thissingle presentation took place in the spring of1914. at New York, just before Mile. Pavlowaclosed her last season. One of the strong elementsof appeal in Amarilla is the opportunity given forthe display of dramatic pantomime by the pre-miere danseuse.

I n her interpretation of the character of AmarillaMile. Pavlowa aroused a vast audience to a demon-stration such as seldom takes place in the UnitedStates. The eloquence of her miming, to many,was a revelation; and, in conjunction with dancingin which she introduced several novelties, earnedfor Mile. Pavlowa a wealth of written commenda-tion from the pens of the seasoned newspaperreviewers.The music created for Amarilla by those threeeminent composersDrigo, Dargomiszki and Glaz-ounowis not only appropriate and well made,but it is of a style that is generally pleasing. Quiteas pleasing, to the visual sense, are the settingsprovided for the single act by Albert Rothenstein.and which represents a fete champetre that maybe likened to the delicate art of Watteau.Based upon the text taken from an old gypsy

folk-song, the story of Amarilla carries the gypsyflavor. It starts in the garden on the estate of awealthy countess who is preparing to marry acount, who, in peasant garb, has long before wonthe love of Amarilla. To this garden the gypsy-queen, .Amarilla, and her band are brought to lendfestivity to the occasion by their dancing.

Presently comes the moment for the telling offortunes; and then, for the first time, Amarilladiscovers the identity of her long-missing wooer.Astonished at her discovery, Amarilla is about tospeak, when warned by the count to keep silence;then, stunned, she swoons. To avert a scene theunheeding nobleman gives gold to the gypsy-queen's brother, and commands that she resumeher dancing.

It is here that the grief-stricken gypsy girl,deluding herself with the thought that she may yetregain the favor of her peasant-count, abandonsherself to a dance of unrestrained wildness. Butits end merely sees the count escorting his fianceefrom the garden. Eager, half-hoping for hercount s return the gypsy queen waits, and at lasthe comes. Instead of words of love, however, hebrings her a purse of gold. Then turning abruptlyhe leaves to rejoin his countess, and Amarilla fallsunconscious to the ground.

Les PreludesONE ofjthe most pronounced triumphs everattained in this country by a ballet noveltycame last season to Michael Fokine's arrangementof his conception of Lamartine's Poetic Medita-tions, and called Les Preludes. The critical opinionof those who saw Mile. Pavlowa and her support-ing organization in premiere presentations of LesPreludes was that it was a masterpiece. The praiseof the reviewers was equally voiced for the accom-plishment of M. Fokine, the stunning setting byBoris Anisfeld and the fitting character of Liszt'sthird symphonic poem for the musical illustrationsrequired.As Liszt himself was inspired by the Frenchpoet's work to compose the music now so thoroughlyknown in the concert-auditorium, so, also, was M.Anisfeld stimulated to superlative efforts. Thisyoung Russian has supreme gifts, and amongthem an imagination unusually creative. Thesingle picture he saw he transformed to canvas,a poetic bit of realism, even though tinged withfuturism, in which the greens and violets effect-ively contrast, under clever lighting effects, withthe reds and yellows.The scene presented at the curtain's rise is

screened by the darkness that foreshadows dawn.As the first tiny beams of light disclose the pictureit reveals human tranquillity; and almost imme-diately feminine figures representing Beauty. Lightand other attributes and emotions in the joys ofLife make known their presence. There, too. isMan contentedly reclining at the side of his beloved.

Presently, among the rocks in the background,gather the phantom-like figures typifying thepowers of Darkness; but until Light and Joy havebeen vanished by Darkness and Death. Man andhis consort are aware only of Happiness and Lightand Peace. It is then that Man, finding himselfalone with Darkness, undertakes the enforced con-flict. Strengthened and guided by the power ofLove, he musters to his aid those sterling qualitieswithout which there is no true manhood, and in theend is triumphant.Though victorious Man sees Life anew, dis-covering it to be different from the tranquil exis-tence he had imagined. Thus disconsolate, heseeks a resting place where Love and her hand-maidens the daughters of Beauty and Lightreturn to heal his wounded soul. Then does Loveagain reign supreme.


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The Seven Daughters of the Ghost KingMYTHOLOGICAL fragments have alwaysoffered wide possibilities for use as the basisof choreographic endeavors. The Seven Daugh-ters of the Ghost King, as many persons will dis-cover, bears in one respect sufficient resemblanceto Wagner's music drama. Die Walkuere, to callit to mind. Here, however, the similarity ends;for each is complete within its own artistic sphere.Though not an opera, this new ballet is decid-edly operatic. The arrangement composed byMichael Fokine, maitre de ballet at the ImperialOpera House, St. Petersburg; the music written forthe work by Alexander Spendiarow, and thescenery and costumes prepared by Boris Anisfeldhave all been combined into a choreographicunit of a sort such as Russians, alone, seem capableof creating. In other words, unaided by a de-claimed text, these gifted people seem wheneverthey try to succeed in joining the arts of music,drama, painting and architecture in a way thateach merges perfectly into the other.The story of The Seven Daughters of the GhostKing concerns the ruler of the Djinns, the lovelyseptet he has long guarded from contact with

mortal masculinityand the uncontrollable pas-sion, love. Restrained within the King's castle ona mountainous peak accessible alone to immortalheroes, these women have passed their days. Ma-tured, their souls become filled with a longing thatcannot be satisfied from the pleasures. of game-playing in the garden.But one bright morning, during the King'sabsence, a mortal prince, known as Hassam,reaches the outer gates. His followers are with him,and thus besought the maidens grant them admis-sion. Impressed by the attractiveness of theirvisitors, six of the King's daughters join withthem in a dance of rejoicing. Only one. CrystalSpring, the youngest of the sisters, refrains; butstanding there she has fallen in love with PrinceHassam. In the midst of the dance the King sud-denly returns, and in anger employs magic fireas does Wotan in Die Walkuere to destroy thesix errants. Left alone, there is no peace forCrystal Spring. Life without her sisters and with-out love holds nothing for her; and loving PrinceHassam with him she dances a dance of death, anddies.

The Magic FluteTHERE should be no confounding of the ballet.The Magic Flute, with Mozart's opera of thattitle. Each is wholly different from the other insubstance, even though of some slight resemblancein the matter of the instrument which sets todancing all who hear its tones save the one whoplays it. The single scene in The Magic Fluteshows a bit of outdoors in a French village in thetime of Louis XV. The chief persons in the storyare Lise, a farmer's daughter (Mile. Pavlowa), andLuc, a youth who works beside her in the fields.Like many another couple, they experience diffi-culty with their course of love which does not runsmooth.As the scene opens a large number of peasantsare gaily drinking beer dispensed to them by Lise'smother as a reward for well-performed tasks. Inthe excitement Lise motions surreptitiously to Lucto join her, and directly they take part in the danc-ing. As they do so a footman of the marquisenters bearing a message announcing that hismaster will shortly appear to choose a bride fromamong the maids of the village, and almost imme-diately the old marquis himself hobbles into view,and seeing Lise instantly declares she is the bridehe seeks.

Disconsolate, the boy sits on the steps of hissweetheart's dwelling and sitting there he sees anaged hermit also turned from the door by theirritable farmer's wife. Seeing another in trouble

similar to his own Luc goes to his rescue, and find-ing him in need of money he tenders the hermithis last coin.

Learning the cause of Luc s unhappiness thehermit gives Luc a flute he is carrying, and theyouth seeing an inscription on it reads: "Play onthis and everybody will be forced to dance. It willbring you luck. " Smiling. Luc turns to addresshis companion and then discovers that he hasmysteriously vanished. Putting the flute to hislips Luc pipes a tune and Lise appears, dancing.As she is informed of the qualities of the new gifther mother and the marquis appear, followed byservants armed' with brooms and sticks. Insteadof attacking, however, they are moved to dance.The marquis charges Luc with sorcery and callsthe gendarmes to arrest him. Luc plays andagain everybody, including the gendarmes, pranceabout. After a time Luc is disarmed of his magicflute and taken before the judge who orders a test.Its certain power compels everybody to dance, andthe judge, his dignity outraged, condemns Luc todeath. But now the notes that had proceededfrom the magic flute are heard elsewhere, and thebewildered assemblage behold Oberon. in splendor,standing above them. He reveals himself as thehermit that day cast out by the farmer's wife, andshe, asking forgiveness, receives it on conditionthat she will no longer bar the way to the marriageof the young sweethearts. Lise and Luc.


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RaymondaPAVLOWA, ever the mistress of novelty andever the artist supreme, has this season in-cluded in her repertoire, already astoundinglylarge, the ballet "Raymonda," perhaps one of themost noted choreographic dramas ever produced.Never before has "Raymonda" been presentedoutside of Russia itself: for it is the one ballet mosthighly prized andmost carefully guard-ed in the archives ofthe Imperial RussianOpera.The sujet or scen-ario for "Raymonda'was conceived origin-ally by Marius Peti-pas and Lydie Pach-koff. The music wascomposed by Alex-andre Glazounoff inthe prime of his lifewhen he was at theheight of his artisticcareer. The music isoperatic, and everydance figure andevery mood that thedancers are calledupon to express, hasits synchronous re-sponse in the score.M. Clustine rear-ranged "Raymonda,"shortening it fromthree acts and fivescenes to two acts.It is the Clustineversion that Pav-lowa uses. The dra-matic, musical andchoreographic essen-tials have been faith-fully preserved andthe Clustine versionhas been termed bycritics even more effec-tive than the original.The locale of "Raymonda" is in the south ofFrance during the Crusades and the Quest of theHoly Grail. In those olden days belief in themiraculous power of certain images was deeprooted. One of these images was the Lady inWhite. It was believed that whenever danger ofany kind threatened owners of a certain estate,the statue came to life, and with magic powerbanished the workers of evil.The ballet opens with a scene in the interior of amediaeval castle the day prior to the wedding of

MLLE ANNM ALEXAN

Raymonda. Preparations are being made for thenuptial festivities. Raymonda's aunt, a youngwidow, the Countess Sybilla, enters accompaniedby her chamberlain. Raymonda's friends beg theCountess to tell them the legend of the Lady inWhite. The young people scoff the story, andtreat it as a joke, while dancing around her.While Raymonda is

greeting her friends, aknight enters with amessage from her be-trothed, Jean de Bri-enne. As she con-cludes reading themessage, and whileRaymonda, as wellas her friends, aredancing with joy, thechamberlain entersand reports that astrange Mauritanianknight, Abdurach-man, waits withoutthe castle gates andbegs an audience.Raymonda and heraunt are somewhatsurprised at the un-expected visit, butwith their usual hos-pitality they bid thechamberlain escortAbdurachman within.Abdurachman ex-plains that he hasheard of the grace andbeauty of Raymondaand that he wishesto pay his respects.The nuptial cele-bration begins andAbdurachman is pre-

vailed upon to remain.Raymonda's friendsdance first and thenshe joins them. Ab-durachman is en-

chanted by Raymonda and he orders his attendantsto bring a chest of valuables. He begs Raymondato choose her own present, but she refuses the offerindignantly. The dancing ceases: it grows duskand all retire. The Countess informs Abdurachmanthat an apartment in the castle is in readiness forhim.Raymonda lingers with her friends. A harp is

brought to her and she begins to play, asking someof her friends to dance for her. Finally the ecstasyof the dance overcomes her and she herself dances

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while another friend plays the harp. Raymondafatigued from dancing throws herself upon a couchand falls asleep.

Suddenly Raymonda wakes and sees the Ladyin White leave her pedestal. Raymonda is terrified,and she cannot move. The Lady in White ap-proaches Raymonda and commands her to follow.Together they pass into a beautiful garden, Ray-monda walking as though hypnotized.The second act is laid in the castle garden, overwhich the moon casts fantastic rays. Raymondasees in her vision her fiance.Jean de Brienne, surroundedby his knights and en-tourage. The Trumpeterof Fame announces thetriumphs of Jean and a cele-bration begins. In themerrymaking and dancingwhich follows, Raymondajoins. Suddenly the moonis blotted out and all isinky darkness. Raymonda'sfriends disappear. She feelsthe arms of a man about her,and as a fitful ray of lightplays upon the face of theman, she recognizes him asAbdurachman. In desper-ation she frees herself fromhim and tries to escape.Abdurachman tells in pas-sionate pantomime of hislove for Raymonda, but sherepulses him and declaresthat she loves only herbetrothed, Jean de Brienne.Becoming enraged, Abdur-achman draws his sword andapproaches Raymonda. Ashe is about to thrust it intoher body, he is again struckby her beauty. The swordfalls from his hand and herushes to Raymonda as shefalls in a swoon. The vision changes once more. Ab-durachman has disappeared. Raymonda tries toflee from the garden, but elfish sprites rise in herpath and dance around her. She cannot breakthrough the ring. Overcome by fear and ex-haustion she falls fainting. Gently the spritescarry her to a bench, the sun rises, and the gloryof the morning comes to dissipate Raymonda'sdream. Raymonda's attendants failing to findher, rush into the garden where they discoverher peacefully sleeping. As she wakes she explainsto them what has happened, and they vow neveragain to make light of the legend and the powersof the Lady in White.

Chopiniana

PAVLOWAThe Incomparable

IT remained for a Russian master musician,a

Russian ballet master, and a Russian choreo-graphic artist, combined, to blend the wonderfulpoetic melodies of the Polish master, Chopin, intothe semblance of a ballet. The musician is Glaz-ounofl; the ballet master, Clustine; and the artist,the Incomparable Pavlowa. The result of this com-bination of artistic talent is a novelty of entrancingworth and a most unusual choreographic effort.

Chopin composed prima-rily for the piano, but he wasessentially a masterof moods,and so in the series of ninedances arranged by M. Clus-tine, the genius of the greatPole finds new and irresistiblebeauty through the creativeinspiration which Pavlowabrings to each separate num-ber. It was Glazounoff whoarranged the various Chopinworks into musical form forballet purposes."Chopiniana' 'is based upon

etudes, preludes, mazourkasand waltzes, ranging fromthe stately measures of thefamous Polonaise in A-Major through the delicatestrains of a nocturne and awaltz to the lilt of a mazour-ka or a prelude, or the be-witching undulations of thefamous D-Flat Major waltz.Each of the numbers in"Chopiniana " is strikinglybeautiful and each is com-plete in itself as a dance,yet each is connected withthe others by a subtle linkof rhythmic buoyancy. Thevery essence of Chopin sgenius is etched like a bas-

relief with a musical background. It is the inherentinterpretative quality of the great master's compo-sitions which makes them lend themselves so readilyfor Pavlowa's purposes. They are eminently suit-able for expressive dancing. Nine separate workscomprise the basis of "Chopiniana."These are: I. Polonaise in A-Major

2. Prelude. Opus 28, No. 173. Valse, Opus 64, No. 624. Mazourka, Opus 33, No. 43. Prelude, Opus 28, No. 76. Valse. Opus 34, No. 27. Mazourka, Opus 67, No. 38. Valse, Opus 12. No. 4'). Mazourka, Opus 33, No. 2


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Pavlowa in Modern Social DancesThe Pavlowana

Beginning the first new social dance. ThePavlowana. A step forward, with dip

MLLE. PAVLOWA performed a number of very importanttasks during the summer of 1914. Some concerned the accep-tance of new ballets; some had to do with costumes and sceneryfor these ballets and for the divertissement novelties which are allbeing introduced in America this year for the first time anywhere,and other of these important tasks related to the membership ofMile. Pavlowa's carefully formed organization. But none of thesematters was approached by the premiere danseuse with an en-thusiasm greater than that shown in creating the three new socialdances, which she herself and every member of her company arepresenting on this tour at every performance.The first of these new dances is entitled The Pavlowana. Itis Spanish in character and is in some respects a little like themaxixe, though in a basic way different. Retaining the fundamen-tal excellences of these dances, The Pavlowana has been developedchiefly to afford satisfaction to those engaged in dancing it and,

also, to permit the various figuresto be executed in a manner thatis visually artistic. It will bereadily seen, as Mile. Pavlowa and M. Clustine interpret the Pav-lowana, that every step and pose is well within the abilities of theaverage dancer and that the entire dance serves as a distinct aidtoward the cultivation of bodily ease, repose and grace.Danced in two-four time, moderate. The Pavlowana requirespreparation by each of the two partners consisting of assumingan attitude bringing the lady and her escort side by side, she rest-ing her left hand in that of the gentleman's right. As the rhythmbecomes firmly fixed, and while the dancers are in the relativeposition shown in photograph number one on this page, both takea fairly long step forward. This step is begun by the lady on herright foot and by the gentleman on his left, the knee of the advanc-ing foot being bent to enable a dip. The dancers now proceedwith two additional forward glides during which the foot on whichthe glide is taken is kept flat upon the floor.When three such forward steps have been performed the dancerspause, the lady supporting the weight of her body on her rightfoot, the gentleman performingthe same service with his right.Each partner now advances theother foot, the toe being pointedand with the arms nearest eachother brought aloft, as displayed in photograph number two, andin this pose preparation is made for the formal salutation which is

clearly shown in photograph number three. From this salutationthe partners continue The Pavlowana through figures two andthreein which the positions are both open and closeto figurefour. This last figure consists of a pretty and simple turn by thelady who is assisted by her partner.The fifth and final figure of The Pavlowana starts with thelady and gentleman poised as shown in photograph number four,from which position a change is made that reverses the lady to theopposite side, in which her back instead of her face is then pre-sented. As she changes places the gentleman does likewise, thepartners altering the poses of the arms so that the escort takes withhis elevated left arm, which is carried back on his head, the upliftedright hand of his lady; and as he does so he extends his rightarm forward across the back of his partner, clasping with his right 3 a formal salutation, required ,n the Pavthe left hand of the lady. From this position the gentle- lowana, which demands stately grace

2. Buoyancy should be th" keynote in thispose in the delighiful Pavlo\^/ana

hand


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man now assists his partner to step to her right until she standsslightly in front of him, when the couple is then prepared to resumethe position shown in photograph number one and recommencethe dance.One of the most delightful dance compositions of the year isbeing used by Mile. Pavlowa for The Pavlowana. This music,which was written by Edward C. Moore, of Chicago, was awardedone of the three cash prizes of $500 offered by Mile. Pavlowa for asuitable musical work for this purpose. This competition, whichwas open solely to American musicians, brought over three hundredmanuscripts to the Russian premiere danseuse during the summerof 1914, and Mr. Moore's music, together with that composed byothers, gained the $ 1 , 500 awards, comprising three prizes of $500 each.

The Czarina WaltzMLLE. PAVLOWA'S principal endeavor, in originating theCzarina Waltz, has been to devise a social-dance of abun-dant variety which, while effective, would not be too difficult fordancers of moderate abilities. 1. The last Pavlowana pose. The ladyand her escort preparing to recommenceThe existing tendency is in the

direction of figures and steps offancy and semi-fancy character, and to create them Mile. Pavlowahas spared no ingenuity. But they will be found, in the CzarinaWaltz, to be uncommonly beautiful to the eye and to be so fash-ioned that each progresses naturally into the one that follows.The Czarina Waltz was designed to preserve all the admirablefeatures of the original waltz, one of the most important beingthe strong rhythmic quality. In the old-fashioned waltz, how-ever, the lack of contrast in steps and of variety for the dancersmade it what one might term colorless. Mile. Pavlowa's Waltzwill be found to possess qualities of genuine appeal, one of themost conspicuous being that it requires those who execute itto reflect three different kinds of spirit in each of the three divisionsof the dance.

I. Starling the Czarina Waliz. The ladymoving forward, her partner backward

In these divisions there arecontaining two, the second divi-sion three and the third divi-sion three figures, in which arefourteen steps. To properly per-form the Czarina Waltz thedancers should give the intro-

ductory division in a dreamy fashion, the second division withgaiety and the closing one with as much abandon as is possiblewithout exaggeration. These points must be borne in mind bythose who dance the Czarina Waltz, otherwise its true spirit willnot be given. A careful observation of the interpretation of thisdance by Mile. Pavlowa and her partner, M. Clustine (who posedfor the photographs herewith shown) will reveal the advantages ofdenoting the different spirits at the requisite moments.

Assuming, now, that a cavalier and his lady are preparing todance the Czarina Waltz. As photograph one indicates, the femininedancer takes an attitude that is buoyantly erect and almost oppo-site her partner. By standing a trifle to his right she can readilyrest her right elbow and hand on the right shoulder and arm ofher escort. Both dancers are supporting the weight of their bodieson their left feet and pointing the toes of their right. The firststep the lady takes is forward on her right foot, and as she doesso the cavalier, whose right hand is at the waistline of his partnerjust above her left hip, moves backward on his left foot. In this

fourteen steps: the first division

A graceful Czarina Waltz turn, executedby the lady with her escort's aid


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position the dancers rise and lower on the toes of both feet instrict time to the music. r r inThe next step in the Czarina Waltz asks more of femmme skillthan of masculine. Extending her left hand so it may be taken inthe right hand of her escort, the lady commences a graceful turnto her left. She passes under an artificial arch caused by her ownelevated arm and that of her partner, who has the task of helpingthe lady in maintaining her poise as she revolves in a completecircle on the left foot, using short step with the right to effect theturn. As he aids his lady, the cavalier stands firmly on both feet,with his left hand on his left hip. The photograph bearing thenumber two indicates the correct execution of this step.When the lady has completed the circle she continues on pasther partner so that she may take a position at his left side. Asshe does so she places her right hand in his extended right, liftsher left arm over her head and inclines her head and body to theright. She is now changing her manner from the dreamy to thegay, and as her partner takes with his elevated left hand that ofhis lady both dancers maintain their poise on their left feet, andraise their right leg^ j^^j^g ^^^^.

the toes of their 3. PoisfHanother figure,U^ dancers are ready !o begin

the Czarina Waliz

4. Swinging into the final figure of theCzarina Wahz. a hesitation step

ful to pointfeet Th ,

right ^ dancers are nowready to mo^e forward.This next step is one extremely graceful to perform and givesevery chance for the display of bodily grace and repose. It pro-vides, further, for lightness, and in conjunction with the otherfigures of this second division is unusually attractive. Photographfour presents Mile. Pavlowa and M. Clustine at the beginningat the final figure of the Czarina Waltz. After open and semi-openpositions the dancers now swing into a waltz in which there is a"hesitation-pause" and other features of marked interest to pro-gressive social dancers. Henry B. Ackley, of Waukesha, and HarryB. Auracher, of Chicago, wrote the Czarina Waltz music whichgained this $500 prize.

Gavotte RenaissanceTHE third of the social dances devised during the summer of1914 by Mile. Anna Pavlowa is the Gavotte Renaissance.This should not be associated with the Pavlowa Gavotte, whichthe Russian premiere danseuseoriginated a year ago and which,was regarded as the most popu-lar of the new and original

dances. The Gavotte Renaissance is composed to the same metricaltime as its predecessor, but there is so little resemblance between thetwo that each may be regarded as independent of the other. Fromthe standpoint of completeness, the new Gavotte represents thehighest point in a dance of this character.The beginning of the Gavotte Renaissance finds the cavalierand his lady standing side by side, at some little distance fromeach other. Their hands are crossed, the lady's left extendingalmost straight out at right-angles to her body and over theright arm of her cavalier. With their feet together, and flat onthe floor, the dancers then assume the positions shown in photo-graph number one, which represents Mile. Pavlowa and M. Clustinestarting the first step of this delightful dance. As the right legis lifted from the floor each dancer shifts the weight of the bodyto the opposite foot, and as the rhythm of the music becomesfirmly established the forward step is taken.As the figures of the Gavotte Renaissance progress it becomes

I. Taking the first step in the GavotteRenaissance, forward to the right, and a dip


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apparent that this is a dar.ce that, despite its many steps, can beexecuted by the average social-dancer. The complete and semi- openpositions prevail for the greater part of the early figures, and inthem there is a constant shifting of poses that lends interest todancer and spectator. One of the most effective figures is the for-ward and back chasse-balance, undeniably simple yet sufficientlyout of the ordinary to be of popular nature. This chasse-balance,at one of the important points, is displayed in photograph numbertwo, which was especially posed for by Mile. Pavlowa and M.Clustine.

This figure starts with the cavalier and his lady standing facingeach other, and at a distance of several feet. The lady gives herleft hand to her partner, at the same time dropping her right armto her side, supporting the body on the right foot and pointing thetoe of the right. The cavalier leans back, standing firmly uponthe right foot, and with the heel of his left raised slightly from thefloor he raises the hand of his lady to the height of his shoulder.In the position just described the lady and her escort are now readyfor the forward part of thechasse-balance.To accomplish the figure with

all the flourish essential eachdancer strides forward on theleft foot, which is carried along the floor instead of being lifted.The buoyancy with which this stride is taken gives it its propercharacter, and it should be accomplished with bodily lightnessand spring. As the dancers reach the full limit of the forwardstridewhich should not be too long they raise their left arms,as is depicted in photograph number two, and inclining theirbodies forward permit only the toes of their right feet to touch thefloor.

Photograph number three presents Mile. Pavlowa and M.Clustine in a cross-over step which is catchy to watch, artistic to adegree and makes possible a most engaging dance figure. This par-ticular step demands an easily held torse, looseness from the waistdown without rigidity and a nice adjustment of all the arm and legmuscles. The Gavotte Renaissance is danced to the composition

3. One b.t of an effective fgure .n ihe written by Philip 1. Jacoby, of San Francisco, California, who is theGavotte Fkenalssance. Shifting positions third American composer to receive an individual cash prize of $500.

2. Another portion of the Gavotte Fkenais-sance; forward and backward chasse

The RythmikonHISTORY will record the year 1914 as beingthe year of upheaval in all governmental andhuman activities. Even in music, revolutionaryprogress is being made in the field of education.The advent of the Rythmikon has stirred thegreatest musical educators, performers and con-ductors to pronounce it "the greatest musicalinvention of the age." By means of the Rythmikonany musical rhythm, no matter how complex, ispresented both audibly and visibly, so that thosebeginning the study of music and those whosesense of time and rhythm is defective have in thisinstrument an infallible guide to lead them outof their difficulties. The impression made on themind by the Rythmikon is so profound that in ashort time the sense of time and rhythm is culti-vated to an astonishing degree, rendering progressin study far more rapid. Some of the greatestartists have declared that through constant publicplaying, rhythmic faults creep into their work, andthese very artists are enthusiastic welcomers ofthe Rythmikon as the only existing scientific

means of re-quickening this sense, and is consid-ered as an essential which in the future they willfrequently use.

It must not be thought that this new and aston-ishing device is just one more complication addedto the already difficult study of music; on the con-trary it is simplicity itself. Its effect on the child-mind is extraordinary, proving attractive andilluminating to a degree.

Its use removes the greatest annoyance to bothpupil and teacherconstant squabbling over timeand rhythm, and makes the study of music a pleas-ure instead of what it too often isa penance.Information may be obtained from The Ryth-mikon Corporation, Metropolitan Opera HouseBldg., New York City.Pavlowa, Toscanini, Muck, Stransky, Dam-rosch, Hofmann, Bauer, Kreisler, Kneisel, andhundreds of others have endorsed the Rythmikonabsolutely and unreservedly as being the greateststep forward in the study of music that has beentaken in the last hundred years.


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Mile. Anna Pavlo\A/aHas SelectedThe Ladies' Home JournalIn which to present her three new societydances. Each of the fourteen steps ineach dance will be iUustrated from thephotographs of Mile. Pavlowa and herpartner, M. Glustine, taken especially forThe Ladies' Home Journal in London, andthe method of reproduction marks a newdeparture in the art of printing.In addition to the illustrations of thesteps, and simple, concise explanations,there will also be published in the sameissues of The Journal

The Original Music for the DancesThe three compositions were the prize-winning manuscripts submitted to Mile.Pavlowa by over three hundred Americancomposers.The PavlowanaIs the name of the first of the three dances,and, together with its original music, willbe presented on three full pages ofThe Ladies' Home Journal

For January, 1915On Sale EveryXeheTe December 20

In the February number will be given thesecond dance and its music; and in theMarch number the third dance and itsmusic will be presented.

The Ladies' Home JournalIndependence Square Philadelphia

'i.iiiii,ii!iiiiii[(iiiii[


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BEAUTY of finish is only the symbol of the supremeworth of the Steinway Piano. Exquisite sweetnessand wonderful strength of tone are responsible for itsworldwide fame. The first

Steinwaywas a triumph of musical genius, and, by strict adherenceto the highest art ideals, four generations of pianoforteexperts have maintained and extended the reputation ofthe Steinway as the Standard Piano of the World.Your choice should be the piano by which all others aremeasuredthe Steinway.

Steinway 6r SonsSteinway Hall107-109 East 14th St., New York

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14 DAY USERETURN TO DESK FROM WHICH BORROWEDENVIRONMENTAL DESIGNLIBRARYThis book is due on the last date stamped below, oron the date to which renewed.Renewed books are subjea to immediate recall.MAY 1 9 1969


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