A CONSERVATORIUM

Evening Post, Volume CVIII, Issue 150, 21 December 1929, Page 10

A CONSERVATORIUM

NEW ZEALAND'S NEED

VIEWS OF LOCAL MUSICIANS

LIONS IN THE PATH

"With regard to what Mr. Alfred Hill said about a symphony orchestra in his interview in tho 'Evening Pout' Llio other day, I think tho schemes would be excellent, if it could bo worked; but I do not think tho population of Now Zealand is largo enough yet for us to have a symphony orchestra of anything like the dimensions of tho one they have in Sydney," stated Mr. Lawrence Watkins (president of llio Wellington Society of Musiciaim) to a "Post" reporter to-day. "Tlio .Sydney Symphony Orchestra, which visited Now Zealand some years ago under tho nonduetorship of Mr. Vcrbrugghen, in kuljsiaisea, I understand, by all tho Australian States; yet it got into financial difficulties and appealed to New Zealand for help. That shows that an orchestra of such dimensions would coat a very considerable amount, and Now Zealand could not hope to run ono. Tho cost of taking an orchestra through oven the four big cities of New Zealand would bo tremendous; ana seeing that the present symphony orchestra in Sydney, according to what Mr. Hill says, is iargely composed of students from the Conservatorium, there would bo no hope of our having one, unless a conservatorium, from which the majority of the players could be drawn, was established here. We have in Wellington now two symphony orchestras almost entirely composed of amateurs—one under tho conductorship of Mr. de Mauny and the other under that of Mr. Kerry. Throughout New Zealand there is always a dearth of wood-wind, players, and the brass is another weakness right through the Dominion. One thing that makes the production of symphony work expensive in New Zeala-id is the fact that nearly all tho brass players have to be paid. MUCH TO BE DESIRED. "A eonservatorium is much to be desired, but it is doubtful how it would function in-New Zealand, because each of the four big centres would feel itself to be the proper place for the conservatorium. If, however, one centre could be agreed upon, a conservatorium might be established with some hope of success. It would, of course, be quite hopeless to attempt to establish four— one in each of the big cities. If a conservatorium could be established, an orchestra would be a necessary adjunct to it to provide the needed tuition for studentsytaking up the various instruments. Under Mr. Alfred Hill's scheme the New Zealand Conservatorium would rely for its funds largely upon the fees secured by conducting our musical examinations in New Zealand, by New Zealanders for New Zealanders; but, to my mind, it is doubtful whether it would be an advantage to New Zealand at the present moment to do away with examinations conducted by English examiners. I do not agree with Mr. Hill that New Zealand gets nothing but the certificates for the money —paid to the English examiners. The_ fact is that the visits of these examiners stimulate both teachers and students and keep them in touch with modern movements, which usually originate in the older and more settled countries. But, of course, if a conservatorium was established here, it would naturally become the examining body, because it would have an adequate staff for the purpose." "I HBABTILY SUPPORT." "I heartily support Mr. Alfred Hill's plea for the establishment of a New Zealand Conservatorium of Music," stated Mr. H. Temple' White (vicepresident of the Wellington branch of the New Zealand Society of Teachers of Music). Mr. Temple White is conductor of the Harmonic Society and of the Commercial Travellers' Male Choir, and was for many years, till his resignation some two years ago, conductor of the Royal Choral Union. "At present," he said, "the Board of Trustees of the National Art Gallery and Museum have awaiting consideration at their next meeting a letter from me, written on 15th November, urging that the scheme of buildings should include provision for a Conservatorium, so as to complete the centre frem the art, music, and education point of view. Every visiting musician of note has stressed the important of a eonservatorium for New Zealand. One great advantage of such an institution would be the corporate study and community of interest amongst the students, helping to create an 'atmosphere.' Other advantages would be the facilities afforded for orchestral, choral, and chamber music classes, and for a general co-ordination of effort. AH our efforts at the present time are going along different channels, and it would be a great thing if we could coordinate them. Of course, I io not think that anything could be done without State assistance.. Geographically, Wellington is the most suitable centre for the establishment of a eonservatorium. Musical progress in New Zealand is undoubtedly being held back for lack of an orchestra of symphony proportions, and a conservatorium would bring a symphony orchestra into the region of practical politics. It would also make possible the specialised teaching of the less familiar but none the less important instruments." "AN EXCELLENT IDEA, BUT—"

"Of course, I have been in this sort of thing in England, and in schools of music, and so on, and I consider it is an excellent idea," said Madame Briggs, the well-known singer and teacher of singing. "But I do not think New Zealand is ready for it yet. "We have not got the population of Australia, and there are not enough musical people in the Dominion with the time and tho money to support a conservatorium. Neither have I seen here yet, with a few exceptions, the necessary talent to warrant it; and I have been here some twenty years. As to the examinations, I thoroughly believe in the idea that singing, for example, should bo examined by a singer, and the violin by a violinist, and so forth. But, unfortunately, my experience is that the New Zealand public—of course, 1 know nothing about Australia—will not believe in local examiners. People cannot free their minds, it seems, from the thought that a lut-ui examiner is not entirely disinterested. Then, again, the examiners who oome from Home have a sort of glamour about them, and the people here appear .to prefer, them. That is what I find at all events." ENTIRELY IN FAVOUR. •"I am entirely in favour of a movement in the direction indicated, because a eonservatorium would get the teachers, and it would provide classes where music students could always come together to disenss matters of common interest; and where they could be tested, and so on, " said Mr. E. A Gaerlyon Bennett (teacher of voice culture and singing). "There would ba classes for' theory, harmony, etc. We should also have a class, or classes, here for instrumental work; and we ought to have lectures on various matters of interest in the musical world. They would be of great value to students and to teachers alike. Students can listen to gramophone reproductions of good music, of course; but that only trains them to listen to interpretation, whereas what we want to do is to teach them to understand every phase of music, so that they can give a thorough

niniliTiiiK of H. To do that they Mlimild Ic.iirn liow lo listen to the big Iliingit, tho busl miiHii'.. Tlio name appliiiN 1.0 Hinging. Tho Htiulcntu must l uarn lo Im alilo to classify voices and Imw lo Htiuly tono thoroughly in every 'lopurtinciiL A woll-mipportcd con-Hiii-vitlorium would afford n rallying-j ground and a platform, enabling visiting |irol'i)HHOi« and other people'to put tlioso tliinga boforc students. In Australia, of coiirwe, they havo the advantage of bring able to linten to and meet ninny big artistH; whereas mich people c.onuj hero mo soldo- that there is very littlu opportunity for hearing them and fur all intereHted coming together to (I'ihcush muHieal matters with them. But v conservatorium would provide both the place mid tho opportunity. ''Tho riuoHlion of New Zealand exnminnlioiiH being hold by New Zcalandoth in New Zealand is one to which I havo not. given much consideration yet, and it is a matter that needs to bo gone into thoroughly in every aspect before a decision is arrived at. But if competent examiners are forthcoming, it is a splendid idea and would make much good work possible. lam quite in favour of the idea of a conmsrvalorium, because to get the best rcsull.H wo should have co-operation and co-ordination in all musical matters. That, is the main thing. What is wanted is more of the spirit of 'music for mimic's sake.' "