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TOWARDS A SOLID CINEMA 1 35
whose building are so conspicuously used as promenades by ladies of the town, that numskull assemblage of associates and members and their guests who gather together once a year for dinner, and who on one occasion when Lord Rutherford told them Einstein was an artist, and a great artist too, howled with derisive mirth, to the unutterable confusion of the brilliant and distinguished English physicist.
In music, Stravinsky and Schonberg have disappeared into the stratospheric heights of neo-classicism and the furious limitations of atonalism respectively. Both they, and their followers, produce music of quite exceptional hideousness. Sibelius alone, now that Delius is gone, is in the great tradition. Stravinsky is interesting as an artist who, under the guiding hand of a greater man, once did good work.
In that, he sets a type of artist common to-day, possessed of a characteristic common to the majority of humanity. They are at their best when led by the nose. Under Diaghileff, Stravinsky wrote his UOiseau de Feu, Petroushka, and Sacre du Printemps. When left to himself he dashes off into a cul-de-sac and writes music such as his Piano Concerto. Stravinsky's music for ballet is excellent as ballet music. In that it admirably fulfils its purpose. Removed from theatre to concert hall, however, the poverty of Stravinsky as an individual artist is immediately apparent. He is, in short, a good artist in a collective assembly of artists in other media, all contributing their piece to the whole. Under a powerful hand like Diaghileff *s he thrives.