prelude to Tristan, however, could only be exhibited privately before the Society of the Friends of Music. The State Board of Censors would certainly issue no permit for public showings of this film at Carnegie Hall.
The music of Richard Strauss, all of it, bawls for illustration. How true this is, one realizes completely when one listens to his operas. Every bar in Salome is accentuated by the stage action: the sombre piety of John, the sensuality of the Princess of Judea, the ribaldry of Herod, the shrieking peacocks, and the raucous Jews. Think of the effect the symphonic poems would make when visualized! Aus Italien, with views of the Campagna, the ruins of Rome, the shores of Sorrento, concluding with a wild Neapolitan tarantella; Till Eulenspiegel, for which Nijinsky would again be requisitioned; Don Juan, probably another private picture. Macbeth and Don Quixote, never very successful when presented as pure music, would benefit especially by this treatment. Even the celebrated episode of the sheep would at last be clear.
But the particular Strauss works I desire to see filmed are the Sinfonia Domestica and Ein Heldenleben. Richard, as the hero of these autobiographical compositions, must be asked to assume the leading rôle in both productions. In the first, he must be assisted by his wife and a
