WORLD of MUSIC

Hawera Star, Volume XLVIII, 8 November 1924, Page 15

WORLD of MUSIC

NOTES. For the next concert of the Hawera Male Choir assiduous work is being done by the chorus. The choir will have the assistance of Miss Kathleen Wood, of Wanganui, soprano, and Mr. C. 0. Moss, of Hawera, baritone, and their winning male quartette will also contribute selections.

“If music were used simply as an attraction to the services, church organists were beaten by- the cinema every time,” declared Mr Sydney Nicholson, organist of Westminster Abbey, at Newcastle, recently. He was speaking at a conference of the National - Union of Organists’ Association, which discussed the report bn ‘‘Music in Worship?’ issued some time ago, by the ~ Archbishop of Canterbury’s Committee That report laid it down that “the function of the organ is to be an adornment and not a necessity,” and Mr Nicholson said that, if it were taken as the organists’ charter, they would see a revolution in church musia

In the August number of a German musical journal, “Music,” there appears a newly-discovered “Song Without Words” by Mendelssohn. Although the original manuscript of the composition was found in an old family book, it hears the authentic Mendelssohn stamp and character. The dedication is made in Mendelssohn’s own handworitsiiiger,. Fraulein Boris Lowe, who was the daughter of a Viennese Court actor,' and a sister of a well-known singer, Fraulein Sophie Lowe, who later became Princess Leiclitenstein. It was while accompanying her sister oil one of her concert tours that Doris Lowe met Mendelssohn in Berlin in 1841, and it is very - probable that the recently discovered piece was written in that year.

There are many curious legends regarding the origin of music. Hindus attribute it to divine agency; the Chinese contend that they obtained their musical; scale from a miraculous bird; whilst the Japanese say that it was devised by the gods to lure the sun goddess from a. cave where she had retired. An amusing Arab legend says that Mojhar, the- camef-drivor, feil from his seat and hurt his arm. In his pain he called out, “Ja Jadah!” His fine voice stirred up tli<s camels, so that they moved more quickly, and from that time all camel-drivers sang. Renther, the Vienna Capellmeister and court composer, once paid a visit to’ the pastor of Hamburg, and whilst there he asked if there were any boys who could sing well enough to be chosen as choristers of the great Church of St. Stephen’s at Vienna. Little Haydn, who was only eight years old, was mentioned, and was at once sent for by the' pastor. The future composer of “The Creation” had not had any luxuries in his short life, so that when he came into the room and saw a large dish of cherries oil the fable he could hardly take his eyes off them. Reuther saw this, and gave him sofiie of the fruit in his hat. When he had tried his voice the master asked the. small boy if he could sing a frill. “Nd,” said Haydn; but after several hints from Reuther he succeeded in executing one. Haydn used to say that he could never afterwards hear a long shake without thinking of the delight ful cherries associated with his first attempt.

An old pupil has been giving a personal recollection of her first lesson, which consisted mainly of being taught how to yawn. Miss Williams. declared that she owed the phenomenal power of her voice to stretching the larynx by this yawning exercise. CHURCH MUSIC. At the Canterbury Synod last week a short and interesting discussion took place on a motion that the Synod should recommend the work of the Diopesan Choral Association to the clergy and laity, especially efforts to bring the best musical publications within reach of choirmasters. He said that the association's object ivas the study and practice of the best church music. The Rev. J. R. Hervey said that standards in music varied in different ages, in the same way as the standards in literature and art varied. He would resent every effort ,to tie choirs -down to a rigid standard when a reasonable variation could be allowed with advantage. Dean Carrington said that the association did not intend to introduce technical and high-class modern standards that would destroy popular singing. The. object- of the present revival was >to .enable every part of the service to be so simple and plain musically that the whole congregation could sing it.

Th© president said that the same objections as were raised now had been raised to fresh light on that subject sitxy years ago. If they had been listened to then the people would not have the glorious hymns that new eheered many thousands of worshippers; However simple: a service might be, it should be the very best of its hind. Archdeacon Taylor said that it was jubt the standardisation of music that the association was challenging. A great deal of the music. used in churches at present was neither simple hor good.

All who have had experience know that there are two sections in church music—congregational, which must be

encouraged in every way, and choir, in which scope must be allowed fev that in which all cannot take part

DEATH OF A GREAT SINGER

The London Times, noting the death of Miss Anna Williams, say 3 she was one of the very few singers of first-rate powers whose refutation was gained entirely cn the English concert platform.

Her public career as a singer lasted little more than 20 years—from 1b74, when she made her debut at a Crystal Palace Saturday afternoon concert, conducted by August Mann, till 1897, when she retired at the age of 52. During this period she sang at the oratorio concerts of Exeter Hall, under Costa, and at those of the Albert Hall under Barnby. ft-t the St. James’s Hall concerts, the Handel Festival, at all the provincial festivals in turn, and with special frequency in Manchester and Liverpool under Halle and Richter. She also toured extensively with such famous sing-els as Mine. Trebelli and Mine. . Patey. Her success was due net only to the possession of a soprano voice of remarkable power and exceptional range (21 octaves), nor only to her acquisition of a perfect method of production, but to musicianship and to qualities of character inherent in her.

As a singer at the English festivals Miss Anna Williams took a leading part in the production of important choral works by th© composers who then represented the young English school. She hclued to make the success of Stanford’s early works, and took part in the production of Parry’s Judith (1888). In such work as tin’s her cultivated, intelligence and strong F.ympatbv with artistic "enterprise were invaluable, and throughout her career

she showed how i:ie influence of the great singer, so often used to drug the public taste, can be used as a powerful stimulus to its enlightmenment. “CATALAN!. ’’ ' A‘DA.UGHTER. OF ITALY. The art and personality of Eleanora Duse must be stiil fresh in the minds of these who- recently stood long hours to see, if only once, one of the greatest actresses. Italy, a country which pays /yearly tribute, to all her great men and women, will keep the memory of the famous Duse green, even as now she has been honouring the memory of another of her world-famed daughters, Catalani, one of the greatest singers. Angelina. Catalani, born in Anconia in 1779, made her debut in Rome. She met with quite extraordinary success, and became in a very short time the most-talked-of person in Europe. Every theatre manager on the Continent clamoured, to have the honour of presenting the new prima donna to the public, and Catalina set off on a triumphant journey through France and Germany. She also visited London, and it is now just one hundred years since she took CoVent Garden by storm, and where, if it were possible, her success dimmed even her reception in Paris and Rome. ADMIRED BY NAPOLEON. Catalani’s singing was much admired by Napdleon, who with the last of his subjects worshipped at the shrine, and once, at least, she used this magic vo-ice of hers to save the life of one of the Emperor’s generals, s a man condemned to deatn for some quite trivial insubordination., Napoleon had sent a command through Cerentini, a musician, of note in Paris, that Catalani should appear the next evening at Court. Cerentini, who- was a close friend and fellow-countryman of Catalani’s, chanced also to he singing-mas-ter to the condemned general’s daughter, a young man and beautiful girl. Being a man of resource,; the idea-came to ; him that with Catalani’s aid they might together work for the man’s pairdon. She took up the idea heartily, and Cerentini sat down there and then and composed,- a song for the occasion, a song which the daughter was to sing. There was little time to prepare, but the girl was called to her master’s studio and the plan explained to her. Then followed some hard work, and the»three- conspirators spent an anxious day. The night of the concert came. Gat-a-lani, in splendid form, earned fresh laurels. Her voice, clear and full, carried her audience off their, feet. Napoleon, along with the rest. She was recalled again and again, and then finally she appeared on the platform with Ceretini'and the young unknown singer. Napoleon Was puzzled, and inquired who this might be and why. The general behind his chair recognised the girlj but not daring to mention the condemned man’s name he explained only that „she was the only daughter of one of the bravest- soldiers. Everyone waited expectantly, and the girl, trembling at the thought of what hung on her efforts, began the song in which she pleaded for her father’s life. Chtalini stood beside her, joining in at the end of each verse. PLEADING FOR MERCY.

Napoleon was amazea, angry and excited by turns. The girl fell on her knees, and with outstretched hands pleaded for mercy. Catalani, kneeling beside her pleaded top. Napoleon frowned and hesitated. He was taken aback, and for a moment was incapable of saying or doing anything. Then he commanded the singers to rise, and, tuming to the: General in attendance, he said —“You can tell my general his life is spared. His pardon has been sung, and he is free.”

Some days later the man returned to his regiment,' w-hich was shortly afterwards ordered to the front, but in the first attack the pardoned soldier was killed.

Another of Gatalani’s soldier friendships was with Bflicker., who, no musician himself, but a keen litsener, . was never tired of hearing her sing. Blueker’s favourite composition was “The Magic Flute,” but as to who composed that opera he never could remember. On one occasion, when the Emperor of Russia was present, Catalani had been singing some of Biucker’s favourite melodies, and'still he went on asking for more. She sang till she could remember no more, and was almost exhausted.

“Now I will sing,” called Blucker, jumping up and standing beside her. H© burst out with his old cracked voice into something from a comic opera, Catalani joining in while the audience cheered and cheered. WELSH CHOIR AT "WEMBLEY. In th© grand finale to the Welsh Musical Festival at Wembley a choir of 3000 voices sang in the Stadium to an audience of nearly 30,000. Among the listeners were Mr Lloyd George and Dam© Lloyd George/ who arrived just after the “Hallelujah” Chorus, and were given an ovation bv both audience and choir. Thirty-six Welsh choirs sent contingents to this massive chorus, which was under the conductorship of Sir Walford Davies, ail districts of the Principality being represented. Some wonderful singing (writes the Daily Chronicle musical correspondent) was heard from this magnificent body of voices, and fortunately the conditions in the Stadium were "ideal, a gentle breeze bringing the sound right aeri-ss to the audience opposite the choir. Responding to calls for a sneech at th© close of the Walsh Musical"]'estival at W'embley, Mr Lloyd Geortre used a megaphone. It was an instrument, he said, which lie was nob accustomed to perform upon—(laughter)—but ho would like to say a word rf fify occ-p sense, of appreciation for the magnificent music which had just, tnnlhxl (mm. He was nroud of Welsh music a'wavs, but. he had never been prouder of R than he had been now. ‘On behalf of that vast multiude he thanked Sir Wolford Davies for the manner in which ho had conducted th© perf orman* ©, a most difficult matter, when me recalled the fact that the choirs had come from 20 or 30 different localities, and that they could not possibly have had an opportunity of re near;-inn- together. (Cheers). ' The Earl ..f Balfour, who was also called on, said it. would be an outrage for him to add anything to what Mr Lloyd George had said. Mr Lloyd George had a light to speak on Welsh music, as a Welshman ; but if. as a Scotsman he were to add his opinion, it would be- to sav that he did not believe there had been anything parallel in artistic .history of vJn.l halt just- been heard.

Writing m the Daily Chronicle, Mr [Henry Coates observes“ The musical festival provided bv Wales, which has been in progress at Wembley, is something more than a magnificent, feast of niTisic: it is the expression of a great musical leadership. For the wonderful performances of great masterpieces which we have heard are due to the inspiration of . one man —Sir Waiford Davies. He it is who for years past has devoted himself to the development of Welsh musical talent. There is no comer of th© British Empire in which

natural musical gifts are to be found in more abundance than in AVales, as their exquisite folk music and beautiful voices snow; Welsh tenors are famous in the English-speaking world; and all over tin. Empire one finds Welsh choirs. But- in the jiast V ales »has not made the fullest use of her musical gifts. At an Eisteddfod some years ago Sir Waiford bluntly told bis feßow-coun-try-inen, in a famous speech, that the music they performed was unworthy oi them, that of instrumental music they knew but little, and that there- was need of great technical improvement. The truth was resented at the time, although it is now admitted to he justified.”

Mr Coates continues:—“However, Sir V'afford set- himself to bring about- a very different state of affairs. With unwearying -energy he preached, through Universities and schools, the gospel c-f good music. The study of the great classics, the knowledge of great musical developments, the need of thorough technical equipment. These ideas he has ever worked hard to accomplish. And Wembley has been the wonderful result. In choral art Sir Waiford has led Wales to that music of all time— Bach. Those who. have been privileged to hear performances of such masterpieces as the ‘‘Waehlet Auf” (“Sleepers Awake”) cantata on Monday by the Cardiff Musical Society and the great Baoh B- minor Mass on Wednesday by the Ammanford Choral Society, have received an impression they can never forget. Perhaps the Ammanford achievement ha-s been the most -remarkable. Here was.a choir of 180 voices, taken from a tiny town of three or four thousand people, tackling one of the greatest things in all musical literature. As Sir Waiford explained before the performance, they were just working folk who had come up that morning from Wales (they were returning at midnight) .and they would sing to the Empire audience iust as if they were holding a good rehearsal at home.”