DIAGH1LEFF BALLET [STRAVINSKY'S " LES NOCES " AT HIS MAJESTY'S
THEATRE.] TIM first performance of Stravinsky's Les Noces by the Diaghileff Ballet, at His Majesty's Theatre, provoked many loud and foolish declarations. The critics tried very hard to acquit Stravinsky against their better judgment. They spoke of " masterly technique " and " powerful rhythm." It seems to me that there is little to say of a score which deliberately sets out to concentrate upon one single element of music to the exclusion of all else. Stravinsky here is obsessed by percussion. In addition to several kinds of drums, he uses pianos and voices. The pianos are used percussively, so are the voices, and so are the dancers. You may describe this insistent beating—(Mr. Eugene Goossens had his full share too)—as " powerful rhythm " if you like, but the truth remains that rhythm cut off from its necessary tonal, harmonic and melodic context loses all relative value, turns in upon itself and at length destroys itself. Nijinska did all that she was required to do with the choreography ; the dancers were heroic.
Incidentally the new technique which is required to bring these fearful and wonderful ballets to pass is undoubtedly injuring the old perfection, as we saw very well in Cariiaval. Only Idzikovsky seems to be resisting its pernicious influence. I suggest to M. Diaghileff that he should have two separate troupes—that is, if he must produce the works of a deceased
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