WORLD of MUSIC

Hawera Star, Volume XLVIII, 30 August 1924, Page 16

WORLD of MUSIC

THE COMPETITIVE SPIRIT

NEWS AND NOTES

They should also lead many residents : to tone an increased interest in the musical life of the community. The ! value of this aspect of the affairs of a ] town can hardly be overestimated. It has a very decided influence for good, j not only to the individual, whom it spurs on to study and work in a right direction, but also to the community at large, whose prestige is increased by the success of its young artists. They therefore should encourage and j foster these efforts by all means in their power. Nobody who has not a very active: brain and a feeling heart- (wrote 1 P.A.S. recently in the Observer) is at all likely to have realised what London music critics are going through at present. After some months without an opera of any kind there are now four opera seasons running. The only mitigation comes from the fact that, like some other devices for nassing the time, they “run concurrently.” Thus the critic, fortunately for his sanitv. does not sit out 30 operas per week (which is London’s present provision). Fortunately for his sanity, indeed! Consider the subject matter of opera. Leaving out Gilbert and Sullivan, who are harmless and cheering, the other opera librettists and composers of the past week provided for our entertainment six murders, six suicides, six death by duel, four deaths by consumption (all girls of course—one of them twice), two executions, one massacre of a whole templeful of . people, and one death from a broken heart! This is London’s gaiety! This* is'the celebration of the happy arrival of our overseas cousins by the organisation of a “brighter London!” And all this time the Londoner or the overseas visitor can hardly hear a symphony tor love or money. Is it not absurd that for months we should have orchestral concerts and no opera, and then for months opera and no orchestral concerts. The proper and philosophic way to look at the matter, 1 suppose, is this—when strawberries aie plentiful, gorge! Make the most of a short season! That is my advice lo readers.

• 9, harl *f, < l, Mus. Doc., organist of Gonvijle and Caius College, has been ejected as successor to the* - late bir C. \ . Stanford as professor of music at Cambridge University. Dr Mood is a son of Charles Wood, of Armagh, and was educated at the Cathedral School, Armagh. He went T«cr to S t hv l ll College, Cambridge, in too/, and after being there five terms gained the Organist Scholarship at Cams College in 1889. He composed incidental music to the lon and Iphigenia of Euripides, and has also composed songs, instrumental music,. and Lnurch music.

This music of Bach’s is a splendid antidote to the ephemeral, neurotic sentimentaL stuff we hear much too often ’ said Mr Hopkin Evans, the adjiichcator, speaking at the Eisteddfod held recently at Blaenau Festinog ‘it is strong and healthy.' Bach is a standing nrotest against musical tuberculosis. To study Bach brings its reward. i here are no fireworks ii) him, bm: plenty of warmth, and nothing sensational.” B

General Dawes, whose report is much m evidence in connection with the reparations problem, is a man of ma "y tlie course of a busy public life he has found time to devote to music. An exchange says • He is an accomplished musician and composer, his favourite instrument beiim 1 V1 ? ni ' 9r e his compositions! Melody in A Major,” was good enough to find a place in Fritz KreisJer s repertoire. As an author he has also found fame, his book “The Ban'kmg System of the States” published in 1894, being regarded ks the standard - work on the subject • b f. uionths ago (says “C' Sharp” m the Chronicle) I mentioned a suggestion that the combined church chons should give an oratorio in the le y° al '. I understand chat conversations” have been going' on between representatives of the chons with .a view to doing something of the kind. I also hear that the Male Uioir contemplates following up its ora tone experiment of last year with a- performance of the Messiah between now and Christmas. To the great bulk of musical folk it is immaterial what Imdy or organisation takes the good work m hand so long as an adequate leiidering of the oratorio is secured. Ihe New Zealand -friends of Mine Winnie Eraser will be interested to hear chat she gave a yery successful vocal recital m Vienna in May (says the Southland I lines). Vicuna is about the most critical city in the world as regards music, and the New Zealand singer feels that she has made great progress during the past three months, as the result of solid study and hard w-ork. She went to Vienna'.from Italy, tier recital was given on the advice of several men eminent in the musical world who had heard her sing, and the occasion was one of very general inteiest The audience included the British Ambassador, Mrs Akers Douglas, and three well-known composers— Herr Richard Strauss, Herr Joseph Marx, and Herr Richard Stohr—all of whom went to the singer’s room afterwards in true Viennese manner—to congratulate her. The British colony in Vienna had worked assiduously in advance on her behalf. Mine. Fraserhad drawn up a very attractive programme, which included several Maori songs. These, being new to the audience, made quite a sensation. Thev included Alfred Hill’s “Waiata ‘ Poi” and Mareelle D’Oreen’s “The Mere.” In the midst of her first song at the 1 a lac e Pier. St. Leonards, recently (says a London paper), Miss Dora Lahhetto, the soprano, stopped ancL admonished the audience for making a noise while she was singing. She was -singing an aria by Handel, when two young men noisily walked across the hall in front of the singer. Other I noises in the hall continued, and Miss Lnbbette broke off her song, saying: “Ladies and gentlemen, you must keep still; I can’t have you walking about whi.e I am singing. Please shut that door and stop rattling the money.” There was a momentary silence, and then a section of the audience began to applaud, the remainder taking it up. After a pause Miss Labbette continued her song, and at the conclusion she received a great ovation. Writing .from London just a month ;igo. Mr Hubert Carter, the New Zealand tenor, stated that he had reached London after a most delightful trip via Suez. _ He visited- Ricordi’s music house in Naples, and was surprised at the value of music, obtaining songs for the sum of sd. Mr Carter is now settled in Earl’s Court for at least six months prior to visiting France, and he is making the most of the opera season. He enjoyed a fine nerfnrmance of “Aida,” in which Edna Thornton, the contralto, took part, and he also witnessed the first public performance of “Hugh, the Drover,” the new British opera by Dr. Vaughan Williams; He speaks of it as “a most

inspiring night and one to remember.” Air Carter mentions that he had met Madame Kilmartin, of Auckland, andMiss Gwen Spanswick, the Australian soprano, who was so recently in New Zealand.

There has been some argument in tne London musical press lately concerning the assertion of the modernist that the vogue of florid singing or vocal fireworks has completely gone out. Against this statement must be placed one irresistible fact—the enormous dfemand by gramophone enthusiasts for records of this class. It is proved by the extraordinary and tinparalleled celebrity that has attached itself to the name of Amelita GalliCurei—an Italian soprano leggiero who has never yet appeared in England, a singer whose reputation has been built up to such amazing heights through the medium of the gramophone, that it has .been found possible to sell every seat eight months* in advance for a concert which she is .to give at the Albert Hall in October next. A feat such as this is entirely without precedent ; and the reason it has never happened before is because the conditions which have rendered it practicable did not exist prior to the era of the gramophone.

THE COMPETITIONS. The week lias been most interesting musically because of the holding of the annual competitions. The entries were very numerous, and the quality, generally speaking, was satisfactory, and in a number of cases much above the average. It was therefore quite interesting for listeners, and not only those who were specially interested in the competitors. The result was that each day saw a large number of people present, and in the afternoons and evenings the hall was practically full. This was very gratifying to the committee, and will serve to increase interest in music and also to make them confident of the prospects for next year, when they anticipate enlarging the number of classes, and so extending the time to three, or nerhaps four, days. The competitions have a distinctly educational value. They draw out talents in performers who perhaps did not realise their powers. The criticism, too, of the judges, who are in the position of being able to say exactly what they think, should be valuable to competitors. The hints they give should show the artists where they are weak, and consequently where they need cultivation to eliminate faults. This should lead to a general raising of the standard of music and elocution among the young students of the town and district. And this is one of the most valuable of the results of the competitions.

OPERATIC SOCIETY. The operas which the society have selected since their initiation' have been extremely popular, and have gained great kudos with the large audiences who have witnessed, these performances. Naturally, therefore, the public are keenly anticipating the next, which is fixed . for September. ‘‘Our Miss Gibbs is the selection, and it is well known as being one of the most attractive. Soloists, chorus, and orchestra have all been working steadily and enthusiastically, and since the producer, Mr T. Foster, has taken charge the work h«is gone ahead by leaps and bounds. All members agree that he knows his job well, and his thorough and tactful methods commend themselves to all. They are being responsible. too, for striking progress and development. The opera is rapidly showing the high standard of work necessary for a finished performance. Air Foster has expressed himself as v £ r .v well pleased with the personnel of the society under his control, and is confident of making a great success.

MALE CHOTR CONCERT. The programme for the coming Male Chou-concert on Tuesday next will be provided by the Wanganui Choir. This body of singers have always been noted for their excellent work, and, being stronger now in numbers and better in quality than perhaps. ever borore, will give a performance that "ill be most attractive and will worthily maintain the reputation bv them in nast veins.

BRATZA COMING. Mr Gravestock is arranging for At. Bratza, the gifted violinist, now with Air to give further concerts throughout New Zealand, supported by his brother, Dushka Yovanovitch, who, although only 17 years of age, is a brilliant pianist. It is probable Hawera will be included in the tour.

PASSING NOTES

(Otago Daily Times.) When l, God Save the King” is played or sung there are three things that should he remembered and are. usually forgotten—first, that it is the sign and svmbol of nationality, and in that appealing to our self-respect, if we have anv, and to pride of raee; next, that it is a prayer; thirdly and lastly, I hat it is great music. At any rate Beethoven was of that opinion. ‘‘l must show the English a little what sy blessing they have in God Save the King,” he said; whereupon he wrote s;even variations on it for the piano, and introduced it into his Battle Symphony. Weber, making it the climax of his Jubnl Overture, brings it in with a majesty and power that should lift even a German audience to their feet. British people who refuse to honour the National Anthem by standing at attention are not necessarily disloyal. They are merely asses.

j CHINESE OPERA. i 77 | During their visit to Hamilton the ! Chinese soccer players put on a performance of a Chinese opera in aid of | the Waikato Hospital Patients’ Sunshine League. It was somewhat of a revelation to Westerners (says the Times) as to wh.at constitutes music in the Orient, and on that occount it was interesting and instructive. It was, however, the motive which [prompted the entertainment which will j commend itself to the public. If they could not follow the plot or interpret the music, patrons could, and did. appreciate the spirit which prompted the visitors to show their sympathy with the si n k and the suffering in a practical form, and to give such a convincing demonstration that “one touch of nature makes a whole world kin.” The visit of the Chinese team of foot- . bailers will long be recalled with | pleasure by the people of Hamilton I and district.

MUSIC WHILE YOU RIDE

“Music while you eat” may soon have a new companion slogan ill “music while you ride.” At least there have been several cases where radio outfits have been fitted to motor cars so as to provide a waltz accompaniment to the soft purr of the engine. Lambon and Company, Studebaker distributors for Orange Free State, South Africa, created considerable comment and won first prize for the most novel advertising stunt by their equipping a Studebaker Light Six with a radio outfit. While the car moved through the streets of Bloemfontein a loud speaker placed on top of the hood reproduced dance music broadcast from a neqrby station. Another case where “radio and petrol” were mixed occurred in Buenos Aires, Argentine. The Studebaker branch in that city suspended an aerial from the windscreen frame to the back of a Studebaker Big Six. The car was driven around the boulevards of Buenos Aires, making frequent stops in the parks and on the plazas. A crowd of curious listeners immediately surrounded the magic moving musicmaker. Granting the success of radio outfits in motor cars, we may expect the next innovation, to be the construction of a dance floor in the tonneau, so that full advantage can be taken of any jazz music received via radio. “CARACTACUS.”

Says the Sydney Morning Herald of a, performance of this great work of Sir Edward Elgar: “Caractacus” was originally composed for the Leeds Festival of 1898, when the late Andrew Black created the name-part. The first performance in Scotland took place two years later at Glasgow, when Mr Bradley conducted the Glasgow Choral Union and Scottish Orchestra in the cantata, and he directed these forces in the same work in 1901. He also introduced “Cai'actacus” with the Philharmonic on his arrival in Sydney in 1908, and again in 1910 and 1917, and on each occasion the same high baritone sang the music with charm, and with thrilling power in the high passage.

The cantata may be classed as belonging to the earlier period of Elgar’s career, since it was only in 1896 that he became known for his first choral work “King Olaf,” while “The Dream of Gerontius” dates only from the Birmingham Festival of 1900. This last oratorio should now be taken in hand by our Philharmonicj as it occupies an established place in English devotional music, and “The Apostles” might be attempted, although in that case the unfavourable impression it made in Melbourne must be borne in mind Elgar’s “The Music Masters” has already been heard here. Last night’s performance showed how much opportunity for inspiration has been afforded by the poetic libretto written by H. A. Acworth. His story successively introduces the BritisSi hosts encamped; the Spirits of the Hill who soothe the weary monarch; the Druids with their • incantations, and the stately dance of the maidens; the description by the male voices of the din of battle and the defeat of the British forces, an admirable suggestion of which was presented last night; and the triumphant procession and march in Rome itself to which Garactacus and the remnants of his army have been taken as captives. It is certainly a most inspiring art scheme. Elgar has treated it with great ingenuity in a style which remains to this day essentially modern. His music provides many beautiful moments, his orchestration -is clever and full of colour. For all that he does not exhibit the melodic inspiration which enabled the most modern of Italian composers, Puccini and even Giordano, for example, to hold our audiences spell-bound by an aria or an ensemble. “’Tis true, ’tis pity; and nitv ’tis, ’tis true.” Mr Cyril "Monk led' the orchestra, while Madame Goossens-Vice-i'°y, both of whom will be remembered by Hawera music enthusiasts, was the principal soprano soloist.

In officially opening the Wellington festival the Mayor (Mr R. A. Wright, M.P.), who is also vice-patron, said that the.large number of entries went to show that the competitions as far as Wellington was concerned had taken root and that the people were behind the movement. It also showed that the people of Wellington had character. Very often competitions flourished for a couple of years, and then the disappointed ones dropped out. Such had not been the case in Wellington, however. The competitions had displayed the true British spirit of never knowing defeat, and lie urged those who were not successful this year to try again next. They would win out in the end. “I. congratulate the committee,” he said, “and have great pleasure in declaring the competitions open.”

Mr Roliert Parker, who was referred to as New Zealand’s premier musical authority, said that it* was the first time a local man had l>een asked to judge for the Wellington Competitions, and he was deeply sensible to the honour that had been conferred upon him. It was very gratifying after 46 years in the musical world to be complimented in this way, and he also made reference to the fact that his brother musicians throughout the Dominion had made him their president. (Applause.) He had been delighted with the work lie had heard so far.

THE MUSIC OF THE WORLD. (“Wayfarer,” in Waikato Times.) “Certain Sounds”—running water, waves along the beach, breezes among the trees. Yes, and there are others. Do you remember childhood, days, when, safely tucked in bed, you listened to raindrons falling against the window-pane? Wasn’t that a fine •sound? You pulled the bedclothes more firmly about your neck, snuggled your head down a 'little deeper in the pillow, and hearkened to the rain. The joy of that sound is with me still. I like to hear the rain upon the iron roof of my whare. Perhaps, nowadays, I like it because it is *but a background, as it were; for one of the laziest, most soothing; most delightful of sounds—made by flames above an open fire. It is a sound that one cannot describe. There really is nothing to which it can be likened. Sometimes it .seems to me like billows of sound overlapping one another, making a musical noise that occasionally seems a little sad. Little pockets of gas may provide a temporary break, but listen to that carefully, and it is wonderfully soft. There is nothing to jar or startle; a most satisfying sound. To sit before the fire and do nothing is to be hilled to sleep, for the noise of the fire seems to be part of the silence, and, generally, one is not aware of it at all. But listen, listen, and vou will fiml the sound of an open fire true music. There is much sorrow in the world, and sometimes it seems filled with shouts of strife and anger, so that it does one good to think of the mighty chorus of glad music. For there are thousands of little streams that sing

all day long, and waves crash out " wonderful chords in unnumbered bays. The winds make harmony in countless glades, and the patter of the rain will be heard again; and that is going on all over the world—a wonderful anthem of praise. If we lived in tune with it this w r ould be a better world. For some reason that I cannot explain man too often adds a discordant note. To have added to the harmony, to the happiness of the world, will surely be counted for good. I have met people who had failed in life. Thev had prosperity and position, but when they came along or entered a room people fell silent. No one was cheered by their coming. . And I know other's whom to see is to smile and to go on the happier. They seem to radiate pleasure. They add to the music of the world a happy human note. Whether we want to "or not, each one of us adds a note, in tune or out of harmony with the majestic chorus. It is no little matter. But here I am digressing again. I meant to write about “certain sounds,” but was led astray bv one of those little crossroads of thought. However, I was in earnest about it. If one soul in all humanity sings a more joyous song because of you to-day then‘the world is the better for it. And if we each add to the swelling chorus in that uav, why, in time, and perhaps soon, the music of the pilgrims will become a poem of harmony such as the old world never thought possible.