HALF A CENTURY OF MUSIC

Dominion, Volume 23, Issue 85, 4 January 1930, Page 11

HALF A CENTURY OF MUSIC

MR. ROBERT PARKER LOOKS BACKWARD A MEMORABLE NIGHT Who has ever paused to consider what we owe to our leading musicians and conductors? Who could possibly apply any kind of measure or gauge to the enjoyment their performances give to the discerning public? This thought was engendered by the news of the honour which has been bestowed upon Mr. Robert Parker, of this city, whose labours of over half a century as teacher, organist, conductor, lecturer, have been such an uplifting influence in the community. What value can be placed on a man who actually was the first to present to the Wellington public five of the nine Beethoven symphonies—the first, second, fourth, sixth, eighth, and parts of the fifth and seventh? Only those who know the infinite beauty of these “immortals” can begin to estimate the intellectual joy such music conveys. A Pioneer. In the course of quite a casual conversation yesterday Mr. Parker brought to memory the fact that he was the first to present here such overtures as “A Midsummer Night’s Dream,” by Mendelssohn, his “Italian Symphony,” also Fingal’s “Cave,” the “Son and Stranger,’ and “Ruy Blas”; the overtures to “Don Giovanni,’ “The Magic Flute,” and “The Marriage of Figaro,” by Mozart, among many other orchestral works of moment.

But that is only a part of the story. It was under Mr. Parker’s baton that the first performance of “Elijah” was given at Christmas, 1878. He had not the honour of being the first conductor of “The Messiah.” That oratorio was originally sung in Wellington in the old Dj'illshed in Maginnity Street, under the conductorship of the late Mr. Ashcroft Edwards,

Mr. Parker has, however, every reason to be proud of being the conductor in Wellington of the original performances of such great choral works as “Israel in Egypt,” “St. Paul,” “Judas Maceabeaus,” “Lobgesang,” “Aels and Galatea,” Sullivan’s “The Golden Legend,” Dvorak’s “The Spectre’s Bride,” and his “Stabat Mater.”

“I also conducted the first performance here of Rossini’s ‘Stabat Mater.’ That was in the old Athenaeum, afterwards the Exchange Hall, and now a furniture warehouse. Then there were Cowen’s ‘Sleeping Beauty’ and ‘St. John’s Eve,’ and Gade’s ‘Psyche’ and ‘The Crusaders.’ and, of course, Cole-ridge-Taylor’s ‘Hiawatha.’ A Memorable Night.

“One of the most memorable nights of my career as a choral conductor was the night in 1890 when we did ‘Elijah,’ With Sir Charles Santiey as the Prophet. His was an amazing performance, one of those unforgettable nights. But there—l could go on and on. So much has been done, and really lit has all been very interesting. “I would like to set one thing right,” said Mr. Parker. “It was stated that I gained a scholarship and was appointed organist at Queen’s College, Cambridge. That is perfectly correct, but it should be stated that I never took advantage of either. I was in those days what was called ‘delicate,’ and instead of going to Cambridge I went to Cornwall to rest and recuperate, and while there taught music and Latin (if you please) to the boys'of a school. I believe I was wise in doing so, as my health did take a turn for the better after a sojourn in' Cornwall.' Those were the days when Newquay, now a fashionable seaside resort, was a mere fishing village. Dr. Monk, of King’s College, was my very good friend, and through him I was offered several good churches, and it was really on his advice that I came out to Christchurch, in New Zealand.”