OF MUSIC PAST AND PRESENT.

Press, Volume LXVI, Issue 19942, 31 May 1930, Page 16

OF MUSIC PAST AND PRESENT.

[By Stbad.]

In my last article I attempted to describe briefly the present trend of music in the Old World and review the means and methods that. have affected its functions as a creative and an interpretative art during the last decades. My comments were tentative, for how rarely contemporary judgment can claim finality is nowhere more painfully evident than in the history of musical composers. Hardly any of the great masters were understood and duly appreciated in their lifetime, or at best not until weary years had passed. Bach was not "discovered" for more than 100 years; Mozart struggled vainly against inferior rivals in Opera; "Mr" Beethoven found himself coldly schoolmastered by the critics of his age. In Munich, at the first performance of Bichard Wagner's "Tristan and Isolde," violent antagonism, with hissing all but drowning the singers' voices, nearly led to blows. And without the gonerous support of King Ludwig of Bavaria Wagner's recognition would doubtless have been delayed for many a long day. It was Schumann's famous criticism of Chopin's Op. 2, beginning with the words: "Hats off! Gentle men, a Genius." that established the Polish master's fame. Even in our time, as Sir Edward Elgar recently confessed, his "Dream of Gerontius" and the no less famous "Enigma Variations" barely paid for the paper he used in the writing. It was the admiration voiced by a foreign composer that opened the eyes—or oars—of his countrymen. TJ\e truth is, critics as a class are too rash and too much divided in their opinions to lead public taste, or they are of the hide-bound type. I remember a case to the point, of one of the ablest German critics of his time being hopelessly at. sea in his valuations of the schools springing into life after Beethoven. Therefore, in fairness, while I can find no redeeming features, except their cleverness, in the crudities and pretensions of modern leaders like Schoenberg and Stravinsky, I willingly admit tbat possibly they may ultimately open new avenues of effect and expression which we cannot, as yet, foresee, or the car of the world may attune itself to their spectacular productions, and them. But their very excesses may lead, as well they may, to a revulsion of feeling, a new era, a musical renaissance is sure to follow, forgiving and forgetful of all misdeeds. To me, the first duty of Art is to idealise, to redeem even the unbeautiful by its magio touch. To the cult of ugliness, though it may be under the cloak of symbol* ism, every lover of music should be sternly opposed. There is enough' of it In life to need no artificial propagation. Music, indeed, offers a helpful hand to escape it. 8o far the extremists have not invaded onr Concert rooms and long may we be spared.

I have already mentioned the various mechanical devices now operating. It would be premature to decide which of these will yield the most beneficial re* Bultß in the interests of music. At present the evidence supports the gramophone. It is adapted for vocal as well as instrumental" reproduction, and has the advantage over its rivals of permitting repetitions at will, ready for service at any moment. Bnt the claim set up that it brings greßt music clearly within reach of the masses hitherto untouched is yet to be substantiated. Against this assumption stands''out the fact that there is just as much shallow, as good music recorded,' and who will' teach the masses to discriminate f Even so all works of some length mnst inevitably remain expensive.' Prom my own experience I have so fsr come to ,thc* cohclnsion that the bulk, of good records. is acquired by. musicians and musical amateurs, already competent to choose wisely. Many of these 1 bnild up what may be called a records* library, and for students, teachers, and performers, these records provide standards always at hand for comparisons and corrections. Beveral complete operas have lately been issued in gramophone re- i cords.

But competition threatens to grow very keen. Already, rumour will have it that huge sums are being offered to notable singers by the ••talkies", to desert'stage fend concert room. Mr Francis Joye, writing in the "Morning Post," declares that he has heard a voice from the screen absolutely true to life "that no gramophone or wireless could compete acainst it" That, however, he considers as yet the exception, but he has no doubt that perfection will be reached in the end. Under the title "Reflected Music" Mr Basil Maine has written a book comprehensively dealing with the mechanics. "The invasion of mechanised music is inevitable and it were better to trike advantage of the tide than to drown ignominiously," he says bluntly incidentally he also has a tilt at "Profuse Harmony'' as he styles it, asserting "that we are nearing the end of the phase."

In his lecture on "The Dream of Gerontius," Professor Sheliey touched upon music and musical art with a depth of feeling and admiration that is as rare as it should be inspiring to others. He senses the canker afflicting music, that which so often sacrifices the substance to personal vanity in every shape and form, while the great public in turn helps to play the game of conoeit. Quite possibly some day the very "reflected music" may eliminate, or at least restrict individual predominance and thus render valuable service to vhe art. The greatest enemies of music are yet hidden within its own doora. * The "Competition Festival" of the year has arrived at its last stage. From a musical standpoint the present session, aa far as 1 could judge, easily surpassed in merit the stanaard ot giany a pievious year and the management left, as usual, little to desire. That the Sooiety listened to reason, abandoning the project of introducing mechanical muaio, is to be gratefully acknowledged. Somehow, say the teachers, one has a prejudice against keeping company with one's—would be—executioner. One feature of th® Festival struck me particularly. Apart from his verdicts, which differed little from my own when I was able to attend, it was the kindliness and warmth of the comments by the musical iudge, Mr James Brash, which 1 highly commend. He was never afraid of expressing admiration for the ablest competitors in most generous terms, quite unlike the belittling practioes of most of his predecessors. That he also knew the dangers I gathered from a report that came under my notice which after a string of praises, concluaea with the words (in brackets) "but don't get swelled head." It seems also that the financial resuits of the session were satisfactory. * After a long spell bridged over with oar own resources, we may expect visits in the near future by distinguished musical artists from abroad. The first ls .,f°, Mr Wilhelm Backhaus. who will be warmly welcomed bv all whom jie so greatly impressed last time by his exceptionally fine pianigtic performances, finished in technique and rtrue in conception. At present he is drawing great audiences in Sydney with a largft «{ recitals. There

is no reason why he should, not be equally successful in New Zealand. He is supposed to be followed by Madame Austral, said to rank now with the few eroat singers of the age and lately acclaimed as second to none in Wagner opera, whioh is saying a good deal. * Home papers report that Mr 6. H. Clutsam, the New Zealand composer, who adapted Schubert melodies for the screen-picture "'Lilac Time," has now completed another similar production, the music of which he extracts from Chopin, audaciously "edited" by himself. Its name is "The Damask Rose." with a plot centred in Poniatowski, the King-Hero of Poland.