Antheil forever!  Hurrah boys, hurrah!  Permit an old curmudgeon to
comment on the recent letters about George Johann Karl Antheil, the
American minimalist (because that's what his music really sounds like),
and the various discussions about his celebrated "Ballet Mecanique".

First of all, his name is correctly spelled Antheil, not Anthiel, as
most have written.  And the indecision of just how to pronounce it
continues.  It is, of course, German in origin, and so ought to be
AHNT-HEIL (as in you know who), but he was American, born in Trenton,
New Jersey, in 1900, and the consensus is that it be pronounced
An-teel, rather than An-theel.

That settled (ahem!), it should be pointed out that Antheil was simply
adding to his bag of percussive tricks with the notion of using player
pianos.

As far as I can determine from auditing the score (in Music Masters
67094; Maurice Peress, c; New Palais Royale Orch.; percussion en-
semble), its charm (if one can use such a dubious characterization)
lies in its _noise_ quotient.  It certainly compares favorably with
contemporary scores of all types, but it is hardly "Moonlight and
Roses" or "Beautiful Ohio" (my state), nor does it provide the 1920's
sound so many find attractive in the pop rolls of the time.

In short, it remains an icon, in the same respect (again, to my aging
ears) as Charles Ives' various orchestral expressions, closer to the
work of Edgard Varese and some others.  So approach with caution, sayeth
the sage.  However, if you find "The Chairman Dances" or "Grand Pianola
Music" -- not to overlook the newest "Century Rolls" for piano and
orchestra and other worthy offerings! of John Adams to your taste --
by all means enjoy!

Cheers!

Albert M. Petrak