THOUGHTS ABOUT MUSIC

Evening Star, Issue 23950, 30 July 1941, Page 3

THOUGHTS ABOUT MUSIC

[By L.D.A.]

It is pretty generally known that, since the destruction ot Queen’s Hall, the National Gallery is the accepted chief concert hall in London. This seems quite in keeping with the fitness of things, but 1 did not realise how appropriate it was until I attended a concert at the National Art Gallery in Wellington recently. A series of musical functions is being held there on Sunday afternoons, comprising only music of the highest class, vocal and instrumental, and it is most gratifying to note the success so far met with, large audiences being the rule, despite winter weather, and the keenest appreciation is shown, as testified by enthusiastic applause.

I have been wondering whether the locale of these concerts is mainly responsible, both in London and Wellington, for their success. It would be .interesting to discover how much the artistic atmosphere contributes towards the air of enjoyment. The cost of admission, Is, is the same in both centres. Wellington has a great advantage in one respect, however: the comparative remoteness of _ its gallery from, traffic. lanes. There is a delightful quietude and restfulness in the concert hall, which one may seek in vain elsewhere. No discordant motor horns or other extraneous noises disturb the ether; the softest pianissimo is perfectly safe from violation, and the sure knowledge of this is eminently comforting alike to performers and listeners. It may be argued that Wellington’s concerts are held only on Sundays, and cannot therefore be compared with the daily concerts in Lon-, don, where traffic noise is practically non-stopping, and, in two senses, that is a sound argument.

Moreover, Wellington has not yet had the thrilling experience (touch wood!) of having its musical afternoons interrupted by air raid sirens. This, we are told, occurs frequently in London, sometimes with humorous effect. For instance, not long ago Maggie Teyte was singing some Debussy songs, when, suddenly, the piercing wail of the “ alert ” intervened. The singer paused for a moment, then with a charming smile she remarked to her listeners: “ I hope you didn’t think that was me!”—and the audience enjoyed the joke and forgave the grammatical slip. Then the mygic proceeded as though nothing were happening. One wonders how a New Zealand concert crowd would react to a similar interruption.

The cynical critic might object that a wide gulf exists ..between the standards of performance in the two centres, and that, consequently, no parallel can be drawn. He would be much more incorrect in his gibe than is generally supposed. The standard of the Wellington Art Gallery concerts Is surprisingly high. True; wc have not yet any fullfledged Myra Hesses, Albert Sammonses, or Maggie Teytes; but the calibre of artistry is, nevertheless, of a quality reflecting immense credit upon New Zealand’s musical resources. The particular concert I attended would have drawn favourable comment had it been held in London’s Art Gallery instead of Wellington’s. The amount of musical talent in this Dominion becomes increasingly evident, and I am especially pleased to find so many excellent violinists. Expert pianists have always been available, but the- violin (has figured less conspicuously on.our concert platforms. Now, however, each centre can boast of several most accomplished fiddlers.

But I am wandering from my opening theme. • Art Gallery concerts seemingly have much in common, wherever held. There is an ingenuous informality about them which the average stiff conventional function entirely lacks. This is evidenced in several ways. In London, by all accounts, people wander in and out promiscuously during the pei'formance, and no objection is taken, provided the music suffers no interference. In Wellington, this liberty is modified to the extent that the doors are closed during actual performances, except when the items are lengthy. Both galleries allow the artists to announce names of pieces and to mingle with the audience at discretion. * * * * Since writing the above,.,l have read that the severity of recent raids has necessitated the Loudon Art Gallry concerts being held in the basement, where there arc no pictures, nor anything else on the -walls to lend congenial atmosphere. This involves a still more unconventional procedure, for performers have no retiring room behind the stage, but must perforce thread their way between crowded chairs until they reach the platform, with several pauses on the way while-greeting friends and admirers. This kind of-thing will probably continue “ fpr the duration.” I must bo pardoned, though, if I express the hope that post-war concert giving will not lose dignity as a result of these experiences. Personally, I have a strong aversion to familiarity between performers and audience; such behaviour is too reminiscent of vaudeville shows, and is to be deprecated in connection with serious music. A like tendency should not be encouraged in Now Zealand. Familiarity breeds contempt.