BEECHAM TALKS

Evening Post, Volume CXV, Issue 94, 22 April 1933, Page 11

BEECHAM TALKS

[THE FUTURE OF MUSIC

CHOIRS AND ORCHESTRAS

TEIBUTE TO DELIUS

Sir Thomas Beecham recently discussed such, questions as the future of orchestral playing and. choral singing jn England and the future of musical development in general in an interview with a representative of the Guardian." "Since the musical dominance of Germany seems now on the decline," Sir Thomas was aakod, "where do you think the centre will shift to-—to the XJnited States, to Bussi-, or to England?" "There is no reason why any nation should enjoy what' you call a musical dominance; why should it?" replied Sir Thomas. "I see no musical dominance locating itself anywhere. On the contrary, I foresee a progressive declino in every country. It is natural jand in the natural order of evolution." / There was a faint sigh, and for a moment the sparkle went oiit of the eyes. "What is the future of the orchestral player in this country now that_ pier bands and spa orchestras are giving way to jazz and so on? Do you see any reason why any young man should take up, say, the oboe, the horn, or the tuba?" ''The point abouj; that question is that young men have never taken up seriously the study of those instruments in England, even in spite of jazz,'' said; Sir Thomas. "If they were to adopt these instruments they would be able to displace the hundreds of superfluous violinists and 'cellists who are now flooding a hopelessly overstocked market. English orchestral, players of wind instruments are a thousand times better than those on tho Continent. Where on the Continent can one find an oboe player like Leon Goossens, for instance? Nowhere." ' CHORAL SINGING. - "Do you believe that there is any future for choral singing in England, seeing that people no longpr sing in the home or join choral classes in the numbers they did years ago?" "There are just as many choral societies in England as thero over were,'/ answered Sir Thomas, with a touch of indignation. "I believe there are 5000 of them, which is more than those ia the rest of the world put together. Nothing will prevent English people from meeting and singing for their own enjoyment, regardless of the if act that they may not be providing enijoyment for others. It is this grand insensibility to tho opinion of the listener which is the strength of the great choral movement in this country." Here the eyes flashed again. '' So long' as that endures in all its hardihood choral singing in England yill continue to flourish." On the question of modern music Sir •Thomas was brief. "Do you think there is any future —or even a present ■—for the atonal music of, say, Schonberg?" ho was asked, "or do you think there will be a roturn to the simpler melodic methods? Will the next step be away from German symphony and music-drama to the Latin traditions of clarity!" ■, "There is certainly no present for atonal music," was the quick reply, ■ *'and I sincerely hope no future. Notody has excelled Handel, Haydn, and Mozart in respect of clarity. If we could be sure of a return to those Teutonic virtues, I for ono should bo happy to ' dispense with those of all the other nations put together." , v WARNER AND'; VERDI. "Whai do you think of the reaction which some English critics think has taken place in Germany in favour of Verdi and against Wagner?" "There is no such reaction," replied Sir Thomas. "Verdi has always been the second most /popular composer in Germany, and almost as often, over certain periods of time, as popular as Wagner, I can assure you, has lost none of his ground in Germany. What can be said with certainty is that ' without these two composers no theatre in Germany could remain open for a month—in spite of State subsidies." Sir Thomas has been regarded for many years as the l possessor of one of the most remarkable musical memories of our generation. Unlike - many other conductors, he never conducts with a score before him, but always from memory. "How do you memorise?" he was asked. "I do not memorise," came the answer. "Either I know the music or I do not. If I know it I conduct it; if I do not know it I do not conduct it. Memorising is either instinctive and natural, or it is acquired laboriously and ineffectively. In tho latter case it is better not to acquire it at all. It is painful for the conductor or the artist who cannot memorise naturally, and it is even more so for tho unhappy audience that hangs breathlessly on the uncertain operations of an imperfect and halting intelligence." . "THE BOHEMIAN GIRL." i "Do you think 'The Bohemian Girl' the best English operaxcomposcd up to date?" Sir Thomas was asked, "including any by Delius?" Sir Thomas's eyes shone again suddenly. Ho drew at his cigar, solecting and refining the phrases of his reply in his mind. Few men can so skilfully hide the effects of a joke or tho eagerness with which they are determined to cap it with another. "I do not think 'The Bohemian Girl' the best English opflra up to date, including Delius," ho replied with a superb effort at gravity, "as undoubtedly the best opera ever written by a man born in England is 'A Village Eomeo and Juliet,' which was composed by Delius. "But unquestionably," ho continued, 'The Bohemian Girl' is the beat English opera ever written by an Irishman. It is, of course, possible that when I have had an opportunity of hearing my own revised version of 'The Bohemian Girl' in public performance I may see fit to modify this opinion—l. will not say in what direction," he added. It will come as a surprise- to most people to learn that the manuscript of this revised version of "The Bohemian Girl," by Sir Thomas is in existence, and was comploted some years ago. Asked what had inspired him to such a task, he told how he had often been struck with tho opera's melodic possibilities, but appalled by its harmonic poverty. "And so,'1* lie said, "I decided to reinforce its simpler qualities of inspiration by the larger fund of science which is at tho disposal of this generation." Only then did tho ghost of the gmile that had been flickering at the corners of his mouth take on flesh and blood. - •