MUSICAL PROGRESS

New Zealand Herald, Volume LXXV, Issue 22933, 11 January 1938, Page 12

MUSICAL PROGRESS

NEW ZEALAND'S NEED VALUE OF CONSERVATORIUM VISITING PROFESSOR'S VIEWS Surprise that New Zealand did not have a conservatoriiim of music was expressed yesterday by Dr. Bernard Heinze, professor of music at the Melbourne University Conservatorium of Music, when lie arrived at Auckland by the Mariposa from Sydney on his way to Great Britain and Europe on 12' months' leave. He said ho thought an ideal opportunity was waiting in New Zealand for the creation of such a school. Its advantages were too many to be ignored. "The arguments in favour of a conservatorium," said Dr. Hoinze, "are that it brings a number of students into close association, provides them with the means for discussing various problems, gives them the opportunity of meeting each other in musical life, and helps them to develop that spirit, of co-operation which is essential • for any musical progress. Not that private practice is ineffective, but a conservatorium of music should be available the moment a student begins to feel his feet as a musician. Without one, I cannot see how it is possible to develop group music, or what is to be the focal centre of orchestral, choral and operatic beginnings. Ideal Opportunity "In Australia, in association with the conservatoriums, amateur groups have done much to develop a love of group music," he added, "but it should be the part of the conservatorium to furnish the professionals who will become the members of symphonic groups. "I think in New Zealand there is waiting an ideal opportunity for the creation of such a school. One thing is quite certain. Ultimately the Dominion will have one, for there _is hardly any great musical community without one. Its advantages aro too manifold to be ignored. Quite apart from the advantages for the students, teachers will find that with its establishment interest in the standard of music will increase in proportion to the excellence of the teaching staff and in a manner hitherto undreamed of by them." Early Training Dr. Hoinze also said it was necessary that musical touching should begin when the pupil was at an early age. One reason why most practical musicians, that was. soloists, came from Europe, and why Great Britain had produced so few great violinists or pianists, was that pupils in Britain started their training too late. Other school subjects should certainly not be allowed to be displaced, but musical training should bo developed smoothly along with these subjects and, if particular aptitude was shown, the pupils should be allowed time off to devote themselves to music. It was too late to start developing their talents after matriculation.

The great artists being produced from Europe were fully equipped musically at the age of 13 or 14. It was evident that British methods would have to bo modified if great soloists were to be produced.