WORLD OF MUSIC.

Auckland Star, Volume LXII, Issue 2, 3 January 1931, Page 8 (Supplement)

WORLD OF MUSIC.

GOSSIP OF THE STUDIOS.

FROM FAR AND NEAR.

(By ORPHEUS.)

I understand that the Dunedin Choral Society intends advertising in New Zealand and abroad for a conductor. The Ashburton Choral Society intends putting on Coleridge Taylor's "Hiawp„tha" for its first concert of the 1931 season. I understand that . the Wanganui Choral Society is contemplating putting on "A Tale of Old Japan" for its first concert of next season. Dr. Victor Galway has intimated to the committee of the Dunedin Choral Society that he does not desire to be reappointed conductor for 1931. Dr. Galway has been appointed city organist, and with his other private work, which takes up so much-of his time, he regrets he cannot spare the necessary time to devote to the Choral Society. Private advices from Wellington state that the chorus work in the "Messiah," given recently there, was the best since the Royal Wellington Choral Union started in 1905. The basses' singing of the repeat in "Why Do the Nations," brought down the house and was reallywonderful, whilst the way they took the runs literally made the audience "sit up." Mr. G. F. Gibbs, who has been secretary of the Nelson Harmonic Society for a number of years, returned this week from a tour of the world. Mr. Gibbs seized every opportunity to hear good music and was very enthusiastic over the production of "Hiawatha" at the Albert Hall in London, which, he stated, was magnificently staged. Mr. Gibbs also went to se© the "Passion Play," and whilst in Sydney heard "A Tale of Old Japan," by the Royal Sydney Philharmonic Society.

Rober ton's famous choir in Edinburgh is considered to be one oi the iinest combinations of its kind in the world. It specialises solely in unaccompanied part-singing, and its gifted conductor gets some marvellous effects from his choristers. It will be good news to music lovers in New Zealand to learn that in Dunedin, there is a choir that compares very favourably with this celebrated "human orchestra." The following are extracts from ■ the "Otago Witness," of October 28, giving an account of a recital by the pupils of Mr. Ernest Drake, who at one time was one of Auckland's leading t<snors: — "First there was the choir of some 70 voices, and then a long succession of vocalists, vieing with one another in an unbroken success. There was hot the slightest suggestion of weakness, bad intonation, or podr production right through the programme of 28 items. The only criticism that might be made would be that the effect of fully two hours and a half of sustained brilliance rather staggers the critic, leaving him out of breath and short of expletives." "After the opening part song, 'The Lass of Richmond Hill,' any choir conductor present must have teen green with jealousy. Straightforward and rhythmic, it was given a model performance in attack and release. The staccato effect of the ladies' voices against the men's sustained notes was very fine, and quite up to Roberton's standard of an orchestra of voices. In fact, the chorus was comparable to a Home orchestra, with the virility, latent power, and ensemble of a first-class band." I would like to give the full account, but there is almost a column written in this strain, and space forbids. It is sufiicic'nt to say, however, that the good people of Dunedin are indeed fortunate.

The writer has been somewhat flattered by receiving letters asking for advice in the matter of getting musical compositions published. The wisest reply might be to repeat Mr. Punch's historic advice to those about to be married. The manager of a Queen Street music shop tells me that his firm is inundated with the manuscripts of would-be Irving Berlins. He also said that it would be a kindness to discourage these budding composers, but I am not sure whether it was a kindness to him or to the embryo song-writer that he meant. However, as a writer in an English musical paper rather cynically points out, "The public always pays well for what it wants." For instance, George Gershwin is reported to be getting £50,000 for writing the music for a "talkie," whilst Schubert received 17/0 for one of the most popular' of his trios. Gounod got £4000 for "Mors et Vita," and for the "Hymn of Praise," Mendelssohn was paid , £25. Mr. Eric Waters gets three guineas for his setting of the 1i A prize poem. At the same time it should be mentioned that every composer does not receive rich rewards such as these. A Trinity College examiner of music once admitted to me that although he had had a great number of his compositions published he wasn't much better financially for them. Just as a peep behind the scenes he confessed that he wrote under three names. His own he used for vocal compositions, whilst for piano and other instrumental pieces he adopted two pseudonyms, each of which had a strong Teutonic flavour. He had found that the compositions published under the foreign-sounding names sold the best. Many of the world's greatest compositions have been written not for pecuniary gain but as a means for self-expression. I don't know whether the composition of fox-trots would come under the heading of musical expression. It all depends how you feel about it. I know how I feel. Anyhow there is nothing to prevent any composer from having a composition published, except finance. I understand that on a rough average about 500 copies can be printed for £26. What they can be sold for is quite another matter.

Miss Dorothy Mills, who hao been honorary , accompanist to the Royal Wellington Choral Union for the past 14 years, is leaving in March on a holiday trip to the United Kingdom and the Continent. Miss Mills expects to be absent for about nine months.

The following letter, received by the secretary of tho Auckland Chamber Music Society from Mr. Alfred Hill, will doubtless interest many of our readers: — "The quartets of mine you ask for are at present not available. I have written to the publishers to make arrangements for them to send me some copies. When I get them I will let you know." The letter goes on to say: "I admire your splendid pluck and interest in the beautiful art of chamber music and would like you to convey to the members of your society, and the subscribers who are supporting, that. they have the good wishes and admiration of every earnest lover of good music. Bravo!' you're doing splendidly. Wei shall keep tho 'flag flying 5 here and our little band of supporters are as loyal as ever. By broadcasting our concerts- we are able to increase the fees to the artists. I suppose you do the same. Good luck to you from Alfred Hill." ITEW MUSIC. "Tongariro," a song of New Zealand. Music by W. J. Bellingham, words by Will Lawson. Issued as a supplement to the "New Zealand Artists' Annual," 1930, Mr. Lawso'n's verse extols the undoubted beauty of our National Park. One feels, however, that the poet's topography of the Park suffers from lack of local knowledge, and that his muse is more interested in the chateau than in the surroundings. The music is such as might be expetced from a musician of the standing of Mr. Bellingham, who, at one time, was very well known in broadcasting circles.