At the literary evening Perez's poem "The Four Seasons" was rendered by recitative group singing. The effect was striking. Nature at the birth of spring, birds sending forth their joyous song of love, the mystery and romance of mating, the ecstasy of renewing and becoming, the rumbling of the approaching storm, the crash of the mighty giants struck by lightning, rain softly falling, the leaves fluttering to earth, the somberness and pathos of autumn, the last desperate resistance of Nature against death, the trees shrouded in white—all were made vivid and alive by the new form of collective recitative. Every nuance of Nature was brought out by the group of artists on the improvised little stage of the Kulturliga.
The next day we visited the art school. The children's classes were the more interesting. There was no discipline, no rigid rules, no mechanistic control of their art impulses. The children did drawing, painting, and modelling—mostly Jewish motifs: a pogromed city, by a boy of fourteen; a devout Jew in his tales praying in the synagogue, mortal fear of the pogrom savages written in his every feature; an old Jewish woman, the tragic remnant of a whole family slaughtered; and similar scenes from the
