In Philadelphia

Rodman Wanamaker, patron, Maecenas of modern U. S. Art, presented a huge evening of endemic tone-fancies in the Grand Court of the John Wanamaker store. The soloists were Marie Sundelius of the Metropolitan Company, soprano, and Leopold Stokowski, conductor of the Philadelphia Orchestra, who appeared on this occasion as an orator. The resources of the great Wanamaker organ, a military band, and a large chorus were also called into play.

The feature of the event, the most ambitious in Philadelphia's "Music Week," was a ringing performance of John Philip Sousa's latest composition, a cantata called The Last Crusade. Fortunately for all concerned, it contained a goodly sprinkling of genuine, new, Sousaesque marches. These marches, according to Stokowski's speech, represent "the real spirit of America in a dignified and intellectual manner." At any rate, they reached the heart of the audience, even though it was seated in between erstwhile counters of dress goods, tableware, notions.

There was also a piece called The Evolution of Dixie, which fooled around with that stirring tune, but never actually played it through--and there was John Alden Carpenter's Krazy Kat ballet, an evocation in mild-mannered jazz of Herriman's immortal comic animals. This last composition has a good chance of becoming a real American classic. It represents many of our national ideals.