AN INTERVIEW

Evening Star, Issue 19319, 4 August 1926, Page 10

AN INTERVIEW

Tall, well built, and in tho prime of • life, Mr Ifaagcn Holcnborg proved himI self an illuminating _ conversationalist, ’as well as an accomplished linguist, j “ You must diave travelled a great deal to speak English, French, and German so fluently, besides your native Danish?” I asked. j “Yes,” replied the great pianist, “I have studied for three years in DrcsI den and Berlin, wandering hither and thither in Russia, Sweden, Italy, Canada, U.S.A., China, Japan, and Egypt, and have spent the last year or two in Australia. English is almost a second nature to me, as, after making my debut under Henry Hadley, . now of tho Metropolitan Operahouse, New York, I was for some time professor of piano at tho famous M'Gill University.” 1 “What turned your thoughts to music, or were you one of those fortunate people who have no difficulty in choosing their future career?” j “No, indeed! I had a struggle with imy parents, who, following the medical I and professorial traditions of the family, insisted on a university career at Copenhagen. After that I insisted on following my natural bent. Probably the Scottish and French West Indian ] blood of my mother, and the legendj steeped district of Elsinore, fostered tho growth of any artistic sensibilities I had.” Incidentally I learned that Mr Holenhcrgh had heard Gado at tho organ, and had met Grieg; indeed, Mine Nina Grieg, widow of the great composer, having hoard Mr Holcnihergh’s interpretation of his work, wrote him a congratulatory letter. The King and Queen of Denmark, too, have | often been among Ins appreciative lis-. toners. | “Candidly, now, what do you think 'of modern music? One hears such contradictory opinions from people who know what they are talking about.”

With a smile, Mr Ilolonbergh replied: “That is a big question to tackle. To begin with, the modern French composers are not great, with the exception, perhaps, of Debussy. The Americans have only M'Dowell to bring jthem laurels. It is to modern Russia and Finland that we must look/for the. best of dramatic music. Notice how prominent in this century is Rusjsian opera and ballot music (hero I I remembered tho great Pavlova, whose J wonderful artistic achievements bore (out the speaker’s remarks). Tho nineteenth century was cue of symphony and musical drama. The twentieth will continue as it has begun—it will bo ■essentially one of dance, with tho touch of mysticism that is already noticeable in Irish and Scandinavian composers. The spirit of the ago is not in harmony with its surroundings. Music, like other arts, reflects life, and we shall ' find more and more that musical har- , mony will dissolve itself in chaos, and j lose its meaning—as it has already beIgun to do m ultra-modern composers.” | “And from the technical point of i view, what do .you think of modern methods?”

“ A pianist must, of course, go through a certain amount of mechanical drudgery. But after having studied tho best systems he must develop his own method. A student should, above all. concentrate on tone production before mechanical dexterity. Indeed, the best technical results come from applying eurythmic principles to every movement and by utilising to the utmost tho natural weight of the arms and hands.” Music lovers will bo glad to hoar that Mr Holenhcrgh intends including much of the best Scandinavian music in his recitals on Saturday and Tuesday next, as wcli, of course, as other masters.