THOUGHTS ABOUT MUSIC

Evening Star, Issue 22414, 11 August 1936, Page 13

THOUGHTS ABOUT MUSIC

[By L.D.A.] " Music gives tone' to tb« univen*: wings to (he miud; (light to the imagination: a charm to sadness: gaiety and Ufa to everything.”—Plato. Dr Malcolm Sargent, the eminent British conductor, who is paying a deplorably brief visit to New Zealand, has risen to musical fame at an earlier age than almost any of his contemporaries—in fact, as far as I know his record in this respect can be compared only with that of Sir Henry Wood, who was but 25 years of age when he entered upon his long and renowned control of the Queen’s Hall Promenade Concerts. It is of passing interest to note that this occurred in 1895, the year of Dr Sargent’s birth, and Sir Henry is still “ going strong.” Dr Malcolm Sargent is essentially a versatile musician; his tastes, while impeccable, are wide and eclectic; he has, apparently, no narrow' prejudices, being receptive of all that is really good in musical art. But in a broadcast speech the other evening he made it clear that he is opposed to jazz, and especially regards it as a menace to the development of the musical taste in children.

It is gratifying thus to find a high musical authority endorsing the views I have expressed in this column over a period of years. Persons of responsible age are, of course, at liberty to choose for themselves in the matter of music, or any other art. Once the tastes of an adult are formed no preaching in the world will make the least impression on him, or her; the leopard cannot change its spots. But the youthful mind is plastic, early in life much can be done in the direction of character and taste formation, notwithstanding the truth of the old adage regarding silk purses and sow’s ears. No doubt water runs as easily off the ear of a mother pig as it does proverbially off a duck’s back; yet a continuous dropping of water on one spot undeniably wears away a stone. No one knows better than Dr Sargent what beneficial results follow a persistent course of presenting good music to children. Some months ago a picture appeared in the ‘ Star ’ illustrating the rapt expressions on faces of youngsters photographed while listening to an orchestra conducted by our distinguished _ visitor at the Caxton Hall, Westminster, where Dr Sargent has for years past given concerts for children on Saturday mornings.

These concerts have been going since 1925, and were made possible through the united efforts of Dr Sargent and Mr Robert Mayer, whose enterprise and public spirit in this connection cannot sufficiently highly be praised. The latter gentleman may be said to have carried on the tradition established by a forerunner of similar name—viz., Edward May, who for years was an enthusiastic worker in the field of juvenile instruction in music on a more or less national scale.

Edward Collett May, to give him his full name, was the soil of a shipbuilder at Greenwich, where he was born 130 years ago. He became deputy organist of St. Paul’s Church, Deptford, when only 15, and later occupied the organ loft at Greenwich Hospital for over 30 years. He was best known, however, by his unremitting zeal in uplifting the musical tastes of the masses. At one institution alone, the National Societies’ Central School, thousands of children, and more than 1,000 teachers, were instructed by him. Besides this he held classes at Exeter Hall, the Apollicon Rooms, and St. Martin’s Hall, where thousands more passed through his hands. For many years, too, Edward May was the sole musical instructor at the training schools at Battersea, St. Mark’s, Whitelands, and Hockerill, from which institutions an average of 250 teachers issued annually. And, as though all these immense labours were not enough ior one man, May was appointed professor of vocal music in Queen’s College, London, when nearly 70 years of age. He died at 81, after a strenuous life devoted entirely to the musical interests of others; and in Dr Malcolm Sargent and Mr Robert Mayer he has very worthy successors. The effect of familiarising young folk with the best in musical.art cannot be overestimated, and the method adopted by_these collaborators—viz., letting the children see and hear a large firstclass orchestra actually at work under a famous conductor—is the most impressive that could be devised. The youthful mind is naturally influenced to an infinitely greater degress by the sight of real performers than is likely or possible by means of radio and gramophone, excellent as these are when properly utilised. Let us hope that Dr _ Sargent’s splendid example may be imitated in New Zealand.

Allusion to the development of young talent naturally calls for mention of a most interesting letter 1 have received this week from Mr F. W. Simpson, of Christchurch, who is the proud father of three musical prodigies and potential celebrities. The eldest of these, Wynne Lorraine, is the young lady to whom I referred lately after her striking performance of Liszt’s first piano concerto, in Dunedin. She is but 14. and already has attained, so I am told, a standard of artistry that gives immeasurable promise for the future. However, I propose to quote from Mr Simpson’s letter—if he will forgive me the liberty—as I think it may prove of general interest. In doing this, I am blushingly compelled to cite his opinion of this column:—

" I have read your column,” ho writes, “ for many years. . . At all times I have enjoyed it; sometimes I. venture to disagree with you; but that is in the very nature of things. Anyway, agree or disagree, always you are stimulating. My reason for writing to you now is to express gratitude for your mention of my small girl, Wynne Lorraine Simpson, who was recently heard in Dunedin in the Liszt E flat concerto.”

“ Tho earnest disciple of musical art, 1 ' continues Mr Simpson, “ has to travel a rough and hard road, and your words will be encouragement and help to this child, whose ambition is summed up in tho phrase ‘Concert Artist.’ Recently I read, in ‘ Music in New Zealand,’ your commendation of_ little Alan Loveday, the prodigy violinist, of Palmerston North. What a gifted lad he must be! It would seem you have set your hand to help some of the amazing talent that exists in this country. Good fortune be with you! ” Mr Simpson is right on this point. My intention is, by every possible moans, to draw attention to genuine musical ability in the youth of New Zealand. Perhaps one day wo may form a Young Musician’s League, or

something on those lines, which will draw ptblic attention to our native products other than mutton and butter fat. Who knows but that such a campaign might result in our enterprising Government proclaiming a guaranteed price to ' all musicians? With decent luck we may even hope to see a guaranteed price set on the head of every' crooner. But this is' looking to the Millenium. ♦ * ♦ There is more, however, of Mr Simpson’s letter. Wynne Lorraine is only one of the family musical phenomena: “ My second daughter, Claire, is not yet 12 years of age. When she was 10 she could play the A minor violin concerto by Bach, the Handel Sonata in A, and many other masterpieces. Then we have little Lois, who is now only eight, and has had three years’ tuition from Harold Beck in ’cello playing, and he says she is definitely a prodigy. . . My wife won an R.A.M. scholarship at a time when such distinctions were comparatively rare. She and I feel the responsibility of being the guardians of our children’s genius, and try conscientiously to discharge our trust in the direction of practical assistance plus psychological guidance, with a special eye on correct discipline. The experience we have thus acquired may, perhaps, usefully be passed on to other parents similarly placed—when the right medium presents itself. . .” A splendid letter, in my opinion, and one that should inspire all parents of exceptionally gifted children. The emphasis on discipline is particularly welcome in these days of parental laxity.

Mr Simpson concludes his letter by directing my attention to a new organisation of youthful musicians in Christchurch. It is called the Christchurch Junior Choir, containing 160 voices, being an offshoot of the local Royal Musical Society. This body is about to give its first public concert, at which Wynne Lorraine Simpson will be the assisting artist, playing Beethoven’s C sharp minor Sonata—commonly and stupidly known as the ‘ Moonlight.’ The conductor is Mr R. G. Thompson.

Christchurch is full of clever musicians, there are probably more there per head of population than in any other New Zealand centre. One of these days 1 may compile a “ Who’s Who ” of the Cathedral City’s musical folk.

Several correspondents have written in commendation of my protest in the matter of the absence of public concerts by Eileen Joyce. I should like to suggest that all who want to hear her on the platform write to the Minister of Broadcasting, Wellington, the Rt. Hon. M J. Savage, and state their grievance vigorously. Miss Joyce arrives on August IS, so there’s no time to lose.