“Then we have other writers; and also—a point which may be especially interesting in view of the freedom of women here—many women composers. Chief among these last I would mention Julia Weisberg, also a Jewess, the daughter-in-law of Rimsky-Korsakoff, having married his second son, one of our greatest critics, and a professor of philosophy and aesthetics.

“The third distinct result of the political upheaval, I would say, was that the various nations comprising the Russias are beginning to assert themselves musically. Armenians, Georgians and others are being roused to an · artistic expression of their own, and native works are beginning to show themselves. Instead of imitating the musical centers in their music, Armenia and Georgia have both produced national operas for the first time recently, and the art therein is beginning to reflect the people itself. These three, I would say, sum up the consequences wrought by the political fervor.”

In the conciseness and logic of Mr. Saminsky’s reasoning one may discern, besides the musician, the mathematician, for Saminsky has also attained eminence in this branch of study, having been a teacher of mathematics before devoting himself entirely to music. He has to his credit, two thesis on the subject, one being a defense of the Kantian philosophy of which he is a disciple; and entitled “Critics of the Metageometric Generalizations.”

It is on another subject, however, that of Jewish music that Mr. Saminsky is most at ease. Having been elected permanent president of the Association of all Hebrew composers in Russia, some twenty-five in number, affiliated with the Folk music society in Petrograd, he has also made intensive study of Hebrew melody, a research encouraged by the confidence of Rimsky-Korsakoff.

Of Hebrew music, Saminsky has some interesting information.

“It is not in Hebrew folk music that one can most keenly discern what traditional Jewish music is,” he said, “because the Jews have .been influenced in this by their neighbors, especially since they have had no country of their own. However, even this form they have made their own, adding to the folk songs an essence and atmosphere unique.

“But in religious music—not synagogical music, but scriptural music—I found the purest type of Hebrew music. I feel this is so because in provinces as remote as Jemmen in Arabia and Georgia in Russia I found the same influence and tendency in the Hebrew music and the same structure. I found that it was not minor, as is generally believed, but of a lovely major quality, not in the least like the usual music we style Hebrew, which is really Oriental. For instance, the recitation of the ‘Song of Songs’ is stirring in its beauty, ecstatic, and a reflection of cerulean heavens. And so it is with other settings of the scriptural texts. They seem to have the majesty and the dignity of the Hebrew tongue, broad and sonorous.”

That America may hear these musical utterances of the Hebrews is very probable, as Mr. Saminsky during his stay in London sponsored several recitals of them with various interpreters, and he may do so here. While in London he also presented a series of concerts devoted to his own compositions and other modern Russians, among them Gniessen, Miascowsky and Prokofieff. He was also musical director and first conductor of the Duke of York’s Russian ballet season and directed the concerts of the London New Russian Choir, with which forces he performed for the first time in England Moussorgsky’s biblical cantata, “Fall of Jericho.”

This last work has a story of keenly human quality, related by Mr. Saminsky. It is based on a Jewish folk-song which Moussorgsky heard sung by a Jewish tailor while he was attending the army manoeuvers. The air, a semi-religious table song, by order of the Archbishop and the friends of Moussorgsky, was inscribed on the composer’s tombstone. Strange anomaly this, a Jewish folksong living forever in an Orthodox cloister.

Lectures at London King’s College and University College and at Oxford and Liverpool on Russian, Armenian, Georgian, Hebrew and Tartar folk-music and kindred subjects were delivered by Mr. Saminsky, and he also contributed articles on similar subjects to leading London and Paris musical magazines.

That his researches have brought him much inspiration may be judged by his works, said to be notable in workmanship and for their folk-music foundation. Among them is a symphonic trilogy, including a Symphony of the Great Rivers, produced at the Imperial Opera House, Petrograd, conducted by himself; Symphony of the Mountains and Symphony of the Seas, on which last he is at present engaged. Two ballets, “Lament of Rachel,” to the conception of which he has brought his fund of Hebrew researches, and the “Vision of Ariel”; two ballet-scenes which are expected to have an auspicious presentation here under the inimitable Bolm, and an opera, “Emperor Julian,” number his theatrical writings; augmented by instrumental works and settings of Russian and Oriental folk-songs.

To the presentation of his compositions here America will undoubtedly give ready ear. The too niggardly allowance of great Russian music which has been our share has whetted the taste the more. We await eagerly the presentation of his own works and those of his fellow Muscovites, conducted by Saminsky, who impresses at first meeting as a profound scholar and an erudite musician.