MUSIC A Diversity Of N.Z. Activity

Press, Volume CIII, Issue 30442, 16 May 1964, Page 4

MUSIC A Diversity Of N.Z. Activity

[Reviewed by

J.A.R.J

Rhythm In Musical Interpretation. By Ernest Jenner. Harry H. Tombs Ltd. Wellington. 35 pp. Diversions for String Orchestra. By Douglas Lilburn. Oxford University Press, 34 pp.

Composer, the journal of the Composers’ Guild of Great Britain. Published by the Guild in London. 32 pp.

An interesting fact about these three publications is that they represent a somewhat surprising diversity of New Zealand activity in music. In one, an eminent teacher presents the fruits of a life devoted to the true expression in performance of musical thought The second is the published score of one of our best-known composers, while the third is last autumn’s issue of an English periodical, the editor of which is a New Zealander, as are two of its contributors. Many will know Ernest Jenner as a dedicated teacher at the Christchurch Teachers' College not so long ago; as an evocative broadcaster in N.Z.B.S. educational sessions which reached a far wider audience than officially intended; as a concert pianist whose esoteric taste and im-peccably-prepared performances delighted knowledgeable audiences; and as a composer of distinctive music. In “Rhythm in Musical Interpretation” this background of pedagogy, performance and creativity serve Mr Jenner well, for although the study must be regarded as the nucleus of his belief, it is presented with a fullness of scope and comfort of vocabulary, both of which belie obvious condensation. Thirtyfive pages of concentrated and persuasive argument may not seem much; but there will be none for whom this will offer no benefit and many to whom a new world of musical meaning will be opened by its es-sentially-logical ideas. Also it is short enough to repay intense study. Numerous musical illustrations of absorbing pertinence enhance Mr Jenner’s text

He writes: “It is in the rhythmic structure of a piece that the composer’s meaning is embodied.” and it is the means adopted to get at the composer’s meaning which concerns the book. The author is adept at keeping to the main line of enquiry, rhythm He defines, he illustrates, be re-defines. At the same time he is able to discard the irrelevancies which hinder so many would-be musicians—time, tempo, metre, bad phrasing, incorrect barring are all featured in the purposeful drive towards the one goal. Mr Jenner’s analysis of the impetus generated within a phase leads inevitably toi

the use of chironomy. This visual adaptation of hand movements is one of his most valued contributions to rhythmic interpretation and is an aspect of interpretation which all performers should understand.

“Rhythm in Musical Interpretation” deserves a wide reading public. It is a model of clear thinking and precise language. It betrays its author’s enthusiasm for the subject. His conviction is infectious, his reasoning, original and valid.

Douglas Lilburn’s score is known as music through its performances by Boyd Neel and others in New Zealand. It is good to see it published and to be able to appreciate the clear simplicity of the scoring and the means by which the characteristic rhythmic impulses is preserved. The Diversions make good listening and it is to be hoped that increased availability through this publication will produce more performances. J. M. Thomson who edits “Composer” is certainly promoting New Zealand in its pages. Some notes on Darmstadt by Douglas Lilburn, an article on Serialism by Anna Lockwood, one on New Zealand by Peter Platt, all these in a 32 page journal must be judged good going. After all, it is an English magazine! It could be said that Lord Thomson should have studied J. M. Thomson’s methods before indulging in his embarrassingly ingenuous “takeover” attempt “Composer” is the journal of the Composers’ Guild of Great Britain. The chief officers of the Guild are Sir Arthur Bliss, Sir William Walton, Benjamin Britten, as well as an impressive group of Council Executive members.