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As the night deepened, the ball-rooms and dancing-booths of Vienna,—the Sperl’s, Das Tanz Salon beim Schaf, and so downward to the dens of Lerchenfeld—grew furious in music, and hysterical in waltz. It was something fearful. It made your eyes twinkle, and your head dizzy, to see that eternal whirling of so many human teetotums.
I saw, too, a performance by school children in Moscow which included some quite wonderful Eurythmic dancing, in particular an interpretation of Grieg's Tanz in der Halle des Bergkönigs by the Dalcroze method, but with a colour and warmth which were Russian, and in odd contrast to the mathematical precision associated with most Dalcroze performances.
"Don't you remember," said I to Min, "those lines of Schiller's Der Jungling am Bache? They seem appropriate to that little incident," I continued, pointing to the small toddlekin, who was destroying the daisy-chain: "`An der Quelle sass der Knabe Blumen wand er sich zum Kranz, Und er sah sie fortgerissen Treiben in den wellen Tanz. Und so fleihen meine Tage, Wie die quelle rastlos hin!
Of the eight numbers in "The Festival," for children, only the "Mazurka" is likely to make even the smallest child think. The "Kleine Tanz Suite" is better. The six children's pieces of opus 41, "Mysteries of the Wood," make considerable appeal to the fancy and imagination, and are highly interesting. They show Grieg's influence very plainly, and are quite worth recommending.
His voice was rich and resonant, bespeaking refinement, and it was particularly in reading poetry that it told. I recall a discussion of German lyrics, the criticism interspersed with many readings from the poets noted, which was deeply impressive. At one time he quoted the "Shepherd's Song" from Faust, "Der Schäfer putzte sich zum Tanz."
The paintings on the Haus zum Tanz he pronounced 'pretty good." But it was not to be. His New Year's offering to the King on the opening of 1539 was a portrait, probably the oil painting in the Hague Gallery, of the infant Prince of Wales.
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