Antheil

When young George Antheil's first "tinpan" opera (we are quoting the dubious pleasantries of an adverse press) was produced in Paris some years ago, it created a literal riot. When Mr. Antheil and his work were heard recently in New York, they effected a mental hut none the less real commotion.

What's it all about? That is the question which the ordinary burgher is asking -- and, be it whispered, some of our bewildered highbrows and infuriated music masters, as well. And this...
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When young George Antheil's first "tinpan" opera (we are quoting the dubious pleasantries of an adverse press) was produced in Paris some years ago, it created a literal riot. When Mr. Antheil and his work were heard recently in New York, they effected a mental hut none the less real commotion.

What's it all about? That is the question which the ordinary burgher is asking -- and, be it whispered, some of our bewildered highbrows and infuriated music masters, as well. And this is, precisely, the question which Ezra Pound, dean of American expatriates, has answered, with annihilating lucidity, in his book, ANTHEIL.

In his work. Pound endeavors to erect a whole novel system of harmony, one which, he asserts, has always been the true system. The attempt would be a daring one on the part of even a master of music.

Coming from a literary man, it is more than likely to create recriminations.

Included with the essay on ANTHEIL are "The Treatise on Harmony," a paper on "William Atheling" and "Varia."