THE MUSICAL WORLD

Dominion, Volume 28, Issue 122, 16 February 1935, Page 19

THE MUSICAL WORLD

(By

“C.J.M.”)

Stray Notes. Albert Coates, the .eminent and fanciful English composer, is completing an opera in four acts, with twelve scenes, with the immortal “Pickwick” as the central figure. His score is said to be “a huge fresco of Victorian life . . • differentiating the characters appropriately with leading themes.” The origin of the tune to which the British National Anthem is set has often caused controversy. It is now known that the tune was borrowed from the German “Heil der in Siegerkranz,” of which the melody is identified as that of “Dieu sauve la France” (‘God Save France’) written by Lulli about 1675, in honour of a visit of Louis XIV to St. Cyr. Now comes up an English antiquarian, Edward A. McGinty, who establishes the identity of the melody (with some variations) with an ecclesiastical chant of the ninth century. With apologies to Shakespeare, “Lord, whab cheats musicians be.” New Zealand Girl’s Success. 'A further Step in the career of Miss Ruth Scott, the well-known young Auckland soprano, is her engagement by the New Zealand Broadcasting Board for a series of recitals. Miss Scott’s work on the concert stage, in amateur operatics, and as a radio artist in Auckland is well remembered. During the past year she has been studying under Roland Foster at the Sydney Conservatorium. She recently won the Open Operatic Section at the last Sydney Eisteddfod, and was quoted by the Sydney Press as the feature of the Eisteddfod when she sang as Maria in “The Daughter of the Regiment.” She also appeared in the Sydney Conservatorium’s production of “Fra Diavolo,” where she has been studying under Roland Foster. On December 11 Miss Scott appeared in the name part of the musical comedy, “The Red Widow,” presented by the A.B.C. Musical Comedy Company from 2FC, Sydney. She is to be heard in soprano recitals from 2YA on February 11, 12 and 15, and from IYA on February 18 and 20. Miss Scott, who is on holiday in Auckland at present, visiting her parents, has just received word from Sydney that the Conservatorium, in recognition of her successful studies during the past year, has granted her a full year vocal scholarship at the Conservatorium. She will leave for Sydney on February 22, to resume her k studies under Mr. Foster, and also to slug the leading part in an opera written by Mr. Howard. Carr, professor at the Conservatorium. There is also a strong probability of her taking a leading role with Fuller’s Grand Opera Company in one of their productions.

Home-Made Music. It was announced recently that British pianoforte manufacturers had iu 1934 increased their output by 20 to 25 per cent, over that of last year. The war dealt home-made music a staggering blow. Cheap (and good) gramophones gave it another. And wireless apparently finished the job. That was what most people felt. The minority was divided into two camps —those who regarded mechanical music as the enemy of art, and those who believed that, given time, it would educate people into a love of good music and stimulate music in the home. This last section is proving correct, comments Miss Nancy Morison in the London “Evening Standard.” The head of a famous girls’ school told her the other day that when wireless first became popular, there was a tremendous drop in the number of pupils studying a musical instrument. Gradually, however, reaction set in, and now more than half the girls learn the piano. But—and here is the difference —they no longer learn because it is “the thing.” They learn only if they are really keen and show talent. Nor is the piano the only favoured instrument. The school orchestra boasts a membership of 50, and beside the usual string instruments, the flute, clarinet, oboe and drum are well represented. And a race of enthusiastic amateurs is coming into being, keen to play as well as to listen. Now here again is a change. In the past foreigners have been puzzled by the English attitude to amateurs. “As soon as an English boy becomes pretty good at the fiddle—or whatever it is—he wants to earn his living by it,” a Serbian friend said to me once. “There is no idea, as at home with us, of a few enthusiasts getting together and playing for fun. That may have been true even a year or two ago, but not now.” Here is an experience of my own. Last week, some neighbours (keen wireless fans) sent a hesitating invitation to' a few friends to come in one evening and make music. The party produced a passable pianist, an excellent, though rather rusty ’cellist, and a could-be-good-with-practice fiddler, to say nothing Of a pair of very pleasant singers—and they all enjoyed themselves hugely. Publishers, piano-tuners and composers, may, I believe, take heart. Home-made music is coming back.