MUSIC.

Dominion, Volume 2, Issue 336, 24 October 1908, Page 12

MUSIC.

| [Bt Tfifc'nLi CLBP.] Liszt in Berlin* Concerning Liszt's concerts in Berlin, in 1842, the "Vossischoi Zoitulig" prints intqresting reminiscences by Fromer!' volt Liliencroh. The university students were very eager to hoar tho great virtuoso, but most i of tliem were too poor .to buy tickets; so Liszt announced ho wouhlt.give, a special concert for them, tit which Seats Coat only twenty-flvo cents, while > tho receipts would bo given to students iit heed, of help. Tho professors, however, not only interpreted the invitation as themselves, but they brought their families and-fHenda, so ttiat very few of tho tickets were left for the students. Ho noticed this, and a dark cloud passed over his face. However, ho played as he always did, After the concert the students wanted to unhitch 'the .horses from his wagon; but Liszt jumped out, grasped two of tho students by tho arms,'' and led them all in procession to his hotel. Hero he turned and made a speech in which ho said he would give another concert at which' no one but students would bo admitted. At this concert ho promised to play for them a fantasia on their "Gaudeamus Igitur." When tho hour came, he did improvise a fantasia on that favourite song, which was promptly published and became very popular. A few days later, when Liszt left Berlin by "extra post," the students, SOO in number, accompanied him to a castle in the. neighbourhood, where a wealthy Gentleman treated them all to a lundh witii champagne. Liszt made another speech, closing with the words: 'If at any time any one of you meets me anywhere, he is my invited guest." Wagnor's Future Dominance. How completely Wagner dominates the operatic situation 1n Germany is shown by an article headed "1913," written by the leading musical critic of Berlin, Dr. Leopold Schmidt, for tho "Tageblatt" of that city, in which he sayS:—"The year 1913 will presumably prove an important. one ; in our theatrical life. It is the year iii which the court theatre will lose its mononoh- of the Wagner operas, and all theatre's will be a-t liberty to produce them. But. on tho privilege or producing Wagner's operas depends tho weal or woo of a modern opera company. The exceptional position of Wagiler among dramatic authors is most luiinnously illustrated by this fact, At all times tho expiration of copyright on famous operls,. ,? s been an 'event for managers and publishers; bllt liovcr bcfol'6 lias it happened _ that tho whole theatrical situation lh a city hay in this way suffered a change, or that speculation was concerned With a single author. There lies the novelty : of the situatioh. FoP Berlin the right to. perform Wagner means the possibility of having a second grand opera, perhaps of several private companies, and it is well known that even foreign capital is interested; diverse rumours afo already in tho air. Kathferlna Goodman, Pianist. ; On Saturday afternoon (October 10) a thin annionco welcomed Katlierine Goodson at Melbourne Town Hall. The crowds were mostly listening, to the music of tho bookmakers at Caulfieldj or lining the bands of the iarra, where a number of rival college boys were pushing spider-like boats over the water. But if it was a thin audience it was critical to a degree, Edward Sellarf and his wife—both accomplished pialiists— big Maggie Stirling, little Rita - Hope, and una Bourne camo. to criticise, and remained to applaud. The new Russian Consul, with the name that soUnds like a hailstorm, Was iit evidence with his wife; and Mrs. Chief Justice Madden, and her mother, and other lftdefatigables were there. Marshall HaH loomed up out of a funereal dais .draped in cold white cloth and lilies (the dais, not Mr. M. Hall). The star, sent a ' flutter through the hall .when she at last appeared in a shimmering pale blue gowfi. oil which the "betrothal opal" gleamed; < As an irtist, she captured tho admiration of Melbourne's most exacting music lovers, her most successful item being Greig's cducerto m A minor, heard for the first lime here with the orchestral- background. A. fort'night previously, Mark Harbburg, with' a more expensive edition of the orchestra, played Tschaikowsky's concerto, Mid Miss Goodson daringly challenged comparison. While her rendering Was strong,-graceful, and expressive, it failed to reproduce the barbaric note that dominates the Russian's nlusic. But as a pianiste—remembering the "e —the gifted young performer is delight' ful, and surprisingly magnetic.—"bulletin." An Australian Prima DOnna. Frances Alda, uee Davis, is a singer not lolic' ago well kuown to Sydney playgoersas JTrahCio'Adler. She comes of a musical • family, for her mother was Leonora/ eldest daughter of Martin aud Fanny Simonsen. Recently she sang with considerable !sUcCes& 'in Opfera in Paris, and .new she has appeared before what is ■ generally conceded to be the most critical audience in Europe, 'at La Scala, Milan. The opera was Charpetttier's "Luisa," not exactly new, for it was pro* duced seven years ago at the Teatro' Lirico, Milan, and neither on that occasion nor on this with very much success. "L'lllubtrazione Italiana," one of the best illustrated papers published in Italy, thus .speaks of her:—"Among all distinguished Mrs. Frances Alda, new to our public, alt Australian who has all the grace-of a true Parisjenlie. In the part of the protagonist she is jierfect. ,She sings with security and suavity, and is a skilful ahd intelligent actress. She was accorded the greatest applause of the evening, particularly, after the romance in the third act.'' There is no mistake about Australia being a voice factory. Notes. Bach's music didn't pay—in his time—but it pays now, and the number of its admirers is steadily growing. These will be glad to hear that- the Puthams havo in press, a biographic study of their idol by Sir Hubert Parry, than whom no oho is better qualified to do such work. Of the twenty-three theatrical productions that ran over 100. nights ill New York last thirteen were " musical." One would have supposed the preponderance of the "musical" plays to be even larger, for did not Voltaire says that J'what iS'too 'stupid to he spoken is made into a solig"? Does music pay? John Phillip SoUfia re ceiVed tho other day a cheque from Paris for SOOOdol., which sum represents i-oyalties collected and paid him by the French Society of Authors and Composers for performances cf his Works in Franco during the season 1907-8. Sousa has made a large'fortune at home out of his marches and operettas, and with his b&hd; but, as the " Musical Courier" remarks, "if he had been'paid a trifling sum as royalty for every American public performance of his compositions during the past fifteen years, he would 'now be a multi-millionaire," Does music pay? "Twilight's Hour" is the title of a song composed by Miss A. Med lev, of Wellington, to the words of Mr. H. DidsbUry/ Which lias been published by Messrs. Boosey and Co., of Londoh.. ' The chief feature' of tile soilg is its > daring simplicity, but although ( its placid air is restricted to foUr notes within tho clof the niolody is in sympathy with the lines.' The Song, which 'has an easy aw:ompa.niment and a simplyarranged violin obligate, was successfully sung licro by that very pleasing contralto, Miss Mildred Jones, who visited. Wellington ! With Madame Albani, but is veallv suitable ' for any voice, though preferably for \ sopranos and Contraltos. :