CHORAL SINGING IN PARIS

Hawera Star, Volume XLVI, 15 January 1927, Page 18

CHORAL SINGING IN PARIS

I arrived in Paris in May, 1925, and unring my stay in that city 1 visited, ami was very courteously received by, tne Director or Music in tne metropolitan state sciiooiSj but was unable to see any class teaching of music. The schools, were preparing for the terms examinations to be held Immediately he.ore tne summer holidays, and in no circumstances are visitors permitted to disturb, even by tlieir presence, this weighty business. Permission to visit r renen schools and observe the teaching methods used therein is to be had only by tne observance of much formality and after rauen detailed arrangement.. It is uii line the “open door” policy observed in English, Scottish, American, and Australian schools. It is more rigid, also, than the Italian way with visitors. The adherence to strict convention applies to a very wide .range of French activities, social, artistic, and official, and in no way affected the genuine courtesy with which I was received by the Director of Music and invited to visit the Parisian schools at a date some months later than the last week in May. 1925. My 7 touring programme did not' allow of me accepting this invitation ; but the French syilabus of instruction in music is so, much like the Italian that nothing fresh or usefW could have been obtained by observing methods based thereon. The “movable doll” is not recognised ; but, although this must weaken the method used in class teaching, the principles that underlie the French music syllabus are sound and unobjectionable. Before leaving Paris I had proof that the school children of the French metropolis were capable of .studying difficult music thoroughly and of singing it with fine taste. At the Trocadero 1 heard a large choir of boys and girls from the schools of Paris in the performance of ; work for solo voices, chorus, and orchestra, by the distinguished composer and conductor, Gabriel Pierne. This composition was noteworthy for its graphic scoring for voices and instruments, and was much more severe..technically, than anything we are used to hear attempted by school children in this part of the world. This fine performance confirmed my belief that school children in many countries are capable of excellent choral singing when they are carefully selected lor the work and well rehearsed by able and inspiring teachers. And this View is supported by the meritorious concert .performances I have heard given by Australian children’s choirs; and by the first-rate work that has been done so often in some of our Public schools, and for so long past, bv teachers and pubils animated by a sheer joy in music and without thought oi profit or applause.”