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ST. CHARLES An Entire Block On the Boardwalk Atlantic City A Smart Hotel in America’s Smartest Resort European or American Plan French and German Cuisine J. C. DUGGAN Optometrist and Optician 231 MITCHELL ST., 9. W. Phono WA Inui <WH!t ATLANTA, GA. Worltr»nikstHot*l-46 Storks High LEONARD HICKS Mmtfiai Director MORRISON HOTEL Madison and Clark Streets CHICAGO [18] THE MUSIC MASTER OF FRANCE (Continued from page 7) frequent use of the whole tone scale: Ravel avoids it. Debussy’s melodies are often vague in form and derived from his harmony: Ravel’s melodies are gen erally clearly defined in form, the har monies added to them like a “condiment” or “spice” (if one may be pardoned a culinary figure of speech). Debussy sel dom employs the relatively rigid “Sonata Form:” Ravel makes frequent and suc cessful use of it. With Debussy the rhythm is often subsidiary to the other musical elements, such as melody, har mony, and tone color; with Ravel the rhythm is a vital and important part of musical structure. Both, learning greatly from the Russians, became masters of orchestration, yet Ravel has developed a style of orchestral writing undeniably his own in which every note tells. Debussy’s music is often characterized by a warm ly sensuous, human quality. Ravel’s more often by humor, wit, or irony. Debussy views the World through the sensitive eyes of an impressionist. Ravel sees with the colder vision of a realist. Impressive above all else in his music is Ravel’s uncanny ability to evoke im ages in the minds of his hearers. Almost without precedent in music is the grim realism of Le Gibet (“The Gallows”) in Gaspard de la Nuit. Equally striking is the suggestion of the sparkling water in Ondine (“Water Sprite”) in the same suite, and of the scintillating play of a fountain in an earlier piano piece, Juez d’eau. The realm of fairyland and child ish fantasy are summoned in the most sympathetic manner in Ma Mere I.’Oye (“Mother Goose”) originally for piano four hands, later arranged as a ballet and orchestrated), and in the fantastic opera, L’Enfante et les Sortileges (“The Dream of a Naughty Boy”). More re markable still is his evocation in Daphnis et Chloe, of the grey tremulous light of dawn, and the murmur of trees and foun tains. Then in "The Waltz” his music arouses the image of phantoms whirling in a hallucination of a Viennese Waltz. This fondness for suggestions of the ex ternal world, typically French, and never descending to cheap imitation is even in dicated by the titles of many of Ravel’s compositions* such as the piano suite, “Miroirs.” Among the numbers of that suite, the brilliant Alborada del gracioso (later orchestrated by the composer), is noteworthy for its warmth of Spanish color, vital rhythm and melody, blending a sentiment of gracious humor with a touch of irony, even as the title would imply, "The Morning Serenade of a Merry Wit.” Ravel has always been keenly aware of the age in which he has lived. Begin ning during the Impressionistic move ment, he has advanced with the times, while remaining true to his own char acter. After Impressionism, the “cyclical principle” practiced by Franck and d’Indy, polytonality, Jazz—all have in fluenced his work. The “cyclical prin ciple”—the device of repeating the same melodic idea during the course of several movements—appears in the Quartet in F, as will be noted later, and in the “Spanish Rhapsody,” where the haunt ing fragment of melody (F, E, D, C sharp), that opens the Prelude, returns with ravishing effect in later movements. Polytonality—the style of writing in more than one key at the same time, polyton ality, that made some of the music of Richard Strauss (Salome), and Straw- insky (Sacre du Printemps), seem at first revolutionary and cacophonous, also is employed by Ravel, though refined in his own characteristic manner. Jazz, the contribution of modern America that has swept over the whole world of music, has also left its imprint on his later work. 'Hie Violin Sonata has for one movement a “Blues,” and in the “Dream of a Naughty Boy” occurs the fox-trot, “Five o’clock.” As the naughty boy dreams, the teapot and the china cup dance a fox trot, singing meanwhile. The melody, although adhering to the rhythm of the dance, has a suavity, grace and mildly ironic quality typical of Ravel; the fantastic mood is enhanced by the contrast of rhythm and clash of keys in melody and accompaniment. In this man ner does he make use of polytonality and a modem dance to produce an exceeding ly witty bit of musical fantasy. Thus we find in Ravel a composer who, like every great creator in the arts, exemplifies the best of his time and his country; one wht»se work is imposing in quality, and what is more important, enduring in merit; and one who, therefore, in the musical histories written in some later age, will doubtless be considered one of the great and representative artists of our day. C«>p>'ri(thtcd 1932 for Tin Southern Israelite New York.—Karl Marx has supplied the Bible for the changed conditions of our day and has supplanted the his toric Scriptures, Lewis Browne, former rabbi, biographer and author of the newly-published “Blessed Spinoza,” de clared on the tercentenary of the birth of Spinoza. Christianity as the dominant world religion is rapidly losing ground, Mr. Browne said, declaring “If economic conditions improve, religion will be al lowed to go its own way. But if con ditions do not improve then you will find the people groping around until they find something that fits their need and gives them the courage necessary to stand up to life. I have a strong suspicion that if conditions keep on as they are today communism will become the world religion, as firmly believed in, as completely accepted, as Christianity was. Karl Marx, a Jew, has supplied the Bible.” Saloniki—The Jews of Greece are as sured of complete protection from anti- Semitic disturbances in a statement made by Premier Tsaldaris, new head of the Greek government, who asserted that he regarded it as a point of honor to safe guard the Jews against fanaticism. SOUTHERN NOTES (Continued from page 17) Knoxville, Term. A milestone on the Sixth Annual Tour of the Union of American Hebrew Con gregations, Knoxville, had the pleasure of hearing addresses by Rabbi Moses P. Jacobson, of Asheville, N. C., and Mr. Nathan Cohn, of Nashville, Tenn. Both speakers were very favorably received and thoroughly enjoyed by a large at tendance. A MAN OF DESTINY (Continued from page 9) to time. Politics demands an all-round knowledge, high motives, enthusiasm, stamina and courage to meet its conflicts and problems.” The description fits Governor Herbert H. Lehman better than any individual we can think of. These were his material and mental equipments when he deter mined to enter the political arena. His elections to the Governorship of the State of New York marks the beginning of the path that might, we hope, lead him to the most exalted position this country can offer one of its favorite sons. Copyrighted 1932 for The Southern Israelite i&veakers Atlantir CCitu, Nriu Jrrary <0n tt|e Boardwalk UNDER NEW MANAGEMENT. FEATURES NEW LOW RATT LEVELS FOR BOARDWALK ACCOMMODATIONS, LUXURY AND ECONOMY COMBINED. f|A With MmU Private Hath European Rt4h If A Private Plan Hath HOT AND COU) SEA W ATER IN ALL BATHS Concert Orchestra Garage Facilities French Cuisine EMANUEL E. KATZ, Mansging Director Gtmd Grooming To lend our assistance in making Madam ' ^ and Mademoi- s e 11 e more charming by good groom ing, and more beautiful by artistic care of her hair, skin and hands, is our art. i’Ciison ^tdolphe BILTMORE HOTEL Telephones HE. 6835-5200 A. L. BANDY, Prop. ASMON LEWIS, Sales ** NORTH ATLANTA MONUMENTAL WORKS From Factory to Purchaser MONUMENTS AND MAUSOLEUMS In Georgia Marble, Beautiful Minnesota Granite and Georgia Granite Call Us and We Will Gladly Give You an Estimate Without Any Obligation Hemlock 2692 - Main 4297 1471 Marietta Road, ATLANTA, GA- THE SOUTHERN ISRAELITE