Abroad

Leonard Liebling, famed critic, has compiled a list of musical festivals which are scheduled to take place in England and on the Continent this Summer and Fall. American tourists will find no lack of orchestral and opera fare, as they scoot from place to place, greasing their way with florins, francs, crowns, lire, rentenmarks.

Here are some of the attractions which may supply them with valuable and duty-free musical memories to bring back to the U. S:

May 2-8, Strauss Festival, Vienna.

May 19-June 3, Beethoven cycle led by Dr. Karl Muck, Hamburg.

May and June, Beethoven cycle led by Walter Damrosch, Paris.

May 27-29, Music Festival, Bonn.

May 27-June 5, Smetana Festival, Prague.

May 27-June 5, International Chamber Music Society, Prague.

May 30-June 2, All-Scandinavian Students' Song Festival, Stockholm.

June 7-10, Music Festival, Sondershausen (Thuringia).

June 9-16, General German Musical Society, Frankfurt-am-Main.

June 24-28, British Music Society, Liverpool.

June, Nether-Rhenish Music Festival, Cologne.

June 21-22, Swiss Musicians' Festival, Schaffhausen.

June 22-29, Reinecke Centenary, Leipzig.

July 4-10, Haendel Opera Festival, Goettingen.

July 5-7, Bach Festival, Stuttgart.

July 15-Aug. 15, Outdoor Italian Opera, Vienna.

July 20-21, Modern Chamber Music, Donaueschingen.

July 22-Aug. 22, Wagner, Bayreuth Festival Playhouse.

Aug. 2-5, Music Festival, Salzburg.

Aug. 4-9, Royal National Eisteddfod, Ponty-pool, Sauth Wales.

Sept. 7-13, Three Choirs' Festival, Hereford, England.

Oct. 29-31, Music Festival, Norwich, England.

Active Anna

A list of Dancer Pavlowa's offerings during a week at the dingy-exteriored Metropolitan Opera House, Manhattan:

Snowflakes, Autumn Leaves, Pizzifcato, Warrior Dance, Flirtation, Anitra's Dance, Amarilla, Oriental Impressions, The Swan, Bacchanale, Chopiniana, Old Russian Folklore, California Poppy, Sleeping Beauty, Dances of Japan, A Hindoo Wedding, Krishna .and Rhada, Hungarian Rhapsody.

It would be difficult to discover a nation, mood, or musical composer who could find no place on a Pavlowa-program.

"Victory Ball"

A novelty in the Boston Symphony Orchestra's 22nd concert of its regular series was Ernest Schelling's tone-poem A Victory Ball. A peculiar enthusiasm for this work seems to have seized conductors this season. Pierre Monteux was one of the last to succumb. The Schelling opus is an interesting experiment, but scarcely a heaven-storming masterpiece. Based on a poem* by Alfred Noyes, which first appeared in the Saturday Evening Post, it tells, in music, the tale of the return to earth of the spirits of soldiers slain in the late War. Instead of the solemn masses, purity, virtue, which they expect to find as a result of their sacrifices, they discover shameful and riotous dancing, sinful and boisterous merrymaking. The music is a fairly effective translation of this situation into sound. The mood throughout is one of gruesome hilarity. Ordinary dance-rhythms alternate with the booming of guns and the spirited tarantaras of the military bugle.

I.

The cymbals crash,

And the dancers walk.

With long white stockings

And arms of chalk,

Butterfly skirts,

And white breasts bare,

And shadows of dead men

Watching 'em there.

II.

Shadows of dead men

Stand by the wall,

Watching the fun

Of the Victory Ball.

They do not reproach,

Because they know,

If they're forgotten

It's better so.

IV.

Fat wet bodies

Go waddling by,

Girdled with satin,

Though God knows why:

Gripped by satyrs

In white and black.

With a fat wet hand

On the fat wet back.

In Atlanta

There terminated the annual visit of the Metropolitan Opera Company to Georgia's capital, and Atlanta, with its memory teeming with pictures of its own diamond horseshoe is all afire for more ambitious musical enterprises.

The "season" at Atlanta ran from Monday, April 21, to Saturday, April 26, and included Marta, II Trovatore, Boris Goudonov, Rigoletto, Fedora, Faust, Cavalleria Rusticana, Pagliacci. Among the performers, Mine. Frances Alda carried off first honors, although enthusiasm was nowhere lacking in the crowded houses.

In the attendant excitement, a movement has been launched for the establishment of an annual season of light opera also. The Atlanta Light Opera Association has already been organized, has elected C. H. Candler as its President, has obtained a 20-year charter to the Fulton Superior Court at Lakewood Park

Flonzaley Victory

Louis Bailly, French viola player, who used to draw up his stool and discourse sweet Schonberg and Haydn with Messrs. Betti, Pochon and d'Archambeau of the Flonzaley Quartet, has lost his lawsuit against those gentlemen (TIME, April 28). The N. Y. Supreme Court, Justice Giegerich presiding, vacated the temporary injunction obtained by M. Bailly a few weeks ago.*

The defense which brought about this decision established M. Bailly's "artistic incompatibility" as follows:

1) He was disagreeable. Sometimes he would not even speak to his colleagues. 2) His idea of quartet playing was principally a matter of solo, and not ensemble, work.

Thus has musical insubordination severed M. Bailly from a job worth $9,000 annually--that being the sum guaranteed to the members of the Flonzaley Quartet by Andre de Coppet, son of the founder of the band.

Papers had been served on the three defendant players on board the S.S. George Washington, 15 minutes after that vessel had sailed for Paris, on April 8. A large portion of the defense was conducted by wireless, aided by statements from an assorted galaxy of musical celebrities.

Bailly having been legally if not safely disposed of, it was announced that his successor had been chosen, and he was none other than Felicien d'Archambeau, brother of the cellist.

* Specimen stanzas:

* (The management of the Flonzaley Quartet had ousted M. Bailly for "artistic incompatibility"' the injunction would have restrained his former comrades from continuing to play (with another violist) under the old Flonzaley name.