DOI issue:
Heft 1
DOI article:Je cherche après Titine
DOI article:Ceasinger, Searcher: The greatest coup of the age
DOI Page / Citation link:https://doi.org/10.11588/diglit.62257#0079
THE GREATEST COUP OF THE AGE
By .
SEARCHER CEASINGER
Mopp Busoni
(Albertina, Wien)
uccess comes to those who endure. If you cannot succed in one way, try another.
Sie., a great singer returns to America with invaluable propaganda, the hand-
clappings of the great immortalized forever upon a motion-picture film.
The story is worth retelling. All persons were satisfied; the singer has her film,
the pianist has his notoriety, and the audience has itself in a film, clapping. But
how? Let us see: Upon whom is the joke?
Mme Georgette Leblanc-Maeterlinck arrives in Paris from America prepared to
give a serie of soirees for the most
famous artists of Paris. Arriving
with the editress of the "Little
Review", Margaret Anderson, these
artists are naturally artists like
Brancusi, James Joyce, and Jean
Cocteau, etc. The artists, wary dogs,
fail to respond. Necessary to a vast
scheme of financed publicity in
America, the omission becomes
pressingly necessary to be rectified.
Accordingly the following steps
are taken:
Mme Maeterlinck is starred,
during the summer, in a vast
French film by the Cinegraphic, as
the woman of affairs about Paris,
the diva at whose marvelous home
all the artists of affairs in Europe
gather. This is the film soon to be
sent to America where Mme Mae-
terlinck will embark upon a concert
tour. Being a publicity film, it
needed a touch of authenticy, which
was added in this way:
The great scene demanded a full dressed, fashionable concert audience in a beauti-
ful Parisian theatre. The Great Diva, whose part Mme Maeterlinck was playing was
to be singing before this audience which was to be in the greatest uproar, figthing
amongst itself over the modern music she was singing.... (alas, she had programmed
Milhaud for this particular evening, but neither of these combinations would have
been responsible for the terrific uproar that followed).
The elite of Paris were invited and came. They came while the invitations were
printed in such a way as to suggest that a moving picture was to be made of them,
and that a program including the Swedish Ballet was to be given. But a few of the
greatest artists came because it had been given out that a young pianist composer
who had been creating riots all over Central Europe, and the most dangerous menace
to present-day compositions, was to play one of his compositions. A bomb was to be
exploded irregardless of motion-pictures. The composer was George Antheil, the
young Polish-American fresh from riot upon riot in Budapest, Berlin, and Vienne.
47
By .
SEARCHER CEASINGER
Mopp Busoni
(Albertina, Wien)
uccess comes to those who endure. If you cannot succed in one way, try another.
Sie., a great singer returns to America with invaluable propaganda, the hand-
clappings of the great immortalized forever upon a motion-picture film.
The story is worth retelling. All persons were satisfied; the singer has her film,
the pianist has his notoriety, and the audience has itself in a film, clapping. But
how? Let us see: Upon whom is the joke?
Mme Georgette Leblanc-Maeterlinck arrives in Paris from America prepared to
give a serie of soirees for the most
famous artists of Paris. Arriving
with the editress of the "Little
Review", Margaret Anderson, these
artists are naturally artists like
Brancusi, James Joyce, and Jean
Cocteau, etc. The artists, wary dogs,
fail to respond. Necessary to a vast
scheme of financed publicity in
America, the omission becomes
pressingly necessary to be rectified.
Accordingly the following steps
are taken:
Mme Maeterlinck is starred,
during the summer, in a vast
French film by the Cinegraphic, as
the woman of affairs about Paris,
the diva at whose marvelous home
all the artists of affairs in Europe
gather. This is the film soon to be
sent to America where Mme Mae-
terlinck will embark upon a concert
tour. Being a publicity film, it
needed a touch of authenticy, which
was added in this way:
The great scene demanded a full dressed, fashionable concert audience in a beauti-
ful Parisian theatre. The Great Diva, whose part Mme Maeterlinck was playing was
to be singing before this audience which was to be in the greatest uproar, figthing
amongst itself over the modern music she was singing.... (alas, she had programmed
Milhaud for this particular evening, but neither of these combinations would have
been responsible for the terrific uproar that followed).
The elite of Paris were invited and came. They came while the invitations were
printed in such a way as to suggest that a moving picture was to be made of them,
and that a program including the Swedish Ballet was to be given. But a few of the
greatest artists came because it had been given out that a young pianist composer
who had been creating riots all over Central Europe, and the most dangerous menace
to present-day compositions, was to play one of his compositions. A bomb was to be
exploded irregardless of motion-pictures. The composer was George Antheil, the
young Polish-American fresh from riot upon riot in Budapest, Berlin, and Vienne.
47