MUSIC.

New Zealand Mail, Issue 1610, 7 January 1903, Page 32

MUSIC.

NOTES BY G STRING

Concerning Edward Lloyd’s coming tour to the colonies, “Musical Opinion'’ has the following:—“Goou-bye to Edward LloyCTi Partings are sad, but inevitable. However, if we in London are not to liear him except at an occasional charity concert, the colonies will be more lortunate, as he has arranged for a pxoiessional tour round the world. Mr Lloyd is htty-seven years of age and lias spent a busy life steeped, in song. Otium cum dignitate!” Mr Edward A. Baugiian, who has edited the “Musical Standard” for the past ten years, has been appointed .musical critic of the “xianv news.” Tnat journal has secured the exclusive right to nearly all Mr Banghan’s services, and his articles will be signed—a new departure for a morning paper.

Asked recently whether she thought it a good plan to muffle up the throat and mouth whenever exposed to cold, Mdlle. Bolores replied:—“l believe in being careful, of course, but it is not necessary to go to extremes. I think it unwise to wear furs or anything very warm about the throat, as they but tend to make it delicate. I believe in hardening one’s self, in building up the constitution, and in breathing all the good, fresh air possible. even if the weather be cold. . The women who go about with muffled throats, overburdened Avith wraps, and who hide themselves in a mass of carriage rugs, and cover their faces with laces and woollens when carriage driving, are the ones who first begin, to cough. One should avoid draughts, and never expose oneself to raw, damp air, especially at nightfall. By exercising a little good sense and judgment it is possible to preserve ft happy medium between over-caution and foolisn coddling.” Mr Vernon Blackburn has been entrusted with the task of writing the official biography of the late Sir Arthur Sullivan. Mr Blackburn lias been placed in possession of all the material in the hands of the composer’s relations, including his correspondence also. In reference to Herr Albert Friedenthal, the pianist, who gave a series of recitals in Bechstein Hall, London, the critics suggest that he has a very decided predeiiction for the works of Chopin, but lacking the caressing touch and ’ sympathetic style necessary to the artistic interpretation of the Polish tone-poet, and is said to be more at home in the works of Brahm and Beethoven. His readings of the latter are stated to be “earnest and thoughtful.” Miss Hetty Holroyd, who left Australia about a year ago to pursue her studies m Italy, has worked so hard in Milan at voice culture and particularly at her diction for the Italian masters, she has made a satisfactory appearance in oratorio, and has been engaged for opera. As Milan is the chief centre in Italy for opera, success in that city should open the stagedoor of every opera house in the rest of Italy to the young Australian. Herr Louis Arens, the well-known tenor, will not come with Madame Melba to New Zealand, as he has left by the Barbarossa for Europe. He is under engagement to sing at Monte Carlo in “Faust” and “Romeo et Juliette,” and thence lie will go to Bayreuth to study Wagnerian parts with Br. Kniese, under Mine. Wagner’s direction. Herr Arens will subsequently fulfil an engagement at Prague, and then proceed to London, he will appear at Covont Garden opera during the summer season. Br. W. H. ‘Cummings, Principal of the Guildhall School of Music, is the subject of an article in “Household Words.” Describing a typical day of his life, Br. Cummings writes : —“I will select a Wednesday, as that is a day on which, week by week, I have the same routine of duties to go' through. I reach the school at 9.30 and open, my letters. Having looked through these,. I distribute them to the secretaries of the various departments with my instructions respecting the replies to be sent, reserving a certain number to deal with personally. At 10.30 I receive professors and students who desire to consult me with reference to their work. This takes me till 11.30. At 11.30 I conduct our principal students’ orchestra, numbering about 60 performers. The programme generally includes a symphony, an overture, and a concerto for piano or-violin and. orchestra. Frequently we rehearse a composition by one of the students, and I instruct him how to conduct it. At 12.30 I teach a class of students the art of conducting. This lasts till one O’clock; when the lunch hour brings a pretty full morning to an end. That hour, however, is far from being sacred, and during it I am liable to constant interruptions by matters of pressing moment. At two o’clock I am at work again, and the work is of rather an exhausting nature. From two o’clock till four I examine students who wish to enter the school. From four o’clock till 6.30 I Avrite reports aud attend to my official \\ r ork. At 6.30 I attend the students’ weekly concert, held either in the theatre or practice-room. This lasts an hour and a half, and comprises pianoforte and violin solos,. songs and recitations. This completes my work at the school for the day. In sketching you the foregoing, 1 have made no mention of such routine duties as the inspection of the class-rooms —we have 80 —and their inmates. In addition to the class-rooms we have a theatre and a small concert-room, to say nothing of the refreshment departments for lady and. gentlemen students, as well as for the professors, each separate and distinct. We have here 3000 students and 124 professors, so you see there is plenty to keep me busy.” The follOAving story is told of Rubinstein, illustrative of his silent habits. After performing once at Glasgow, his host asked him who was his favourite composer. Rubinstein said nothing, but puffed at bis cigar. The host suggested Mendelssohn. After a pause Rubinstein shook his head. The host then suggested Wagner: Another long pause, and then a shake of - the head. At last the host

mentioned Beethoven. “That’s my man/* answered Rubinstein, “and/ turn x wish you good night, and many thauKs for your agreeable conversation.”

It has been said quite seriously in one of the New York papers that Signor Mascagni, in a Avork which he conducted recently in America, “failed tu icanse the intentions of the composer/* 1 The music played was, however, of axascagni's own composition. There 19 nouluig like courage in musical criticism.

“Musical NeAVs” remarks apropos of tile tour of the New Zealand band-:—‘‘That particularly active island, New Zealand, promises to send over a complete band, which Avill either shew our musicians how to play better, or, posffibly, that they themselves have something yet to learn.” “M. Kubelik” (says “Musical News” of November/1), “gave what is announced as his only recital in London this season, at St. James’s Hall, on the 25th ult. Same works in which the talented young violinist had not been previously heard were brought forward on the occasion, at the head of these being Goldmark’s Suite in E major far violin and pianoforte. Miss Katharine Goodson Avas associated Avith M. Kubelik in the performance, and the Finale wa s most brilliantly discoursed, with a gIoAV of warmth that brought doAvn a storm of applause. Later came Bach’s Fugue in G minor, the Andantino from Saint-Saens’ Concerto in B minor, with some marvellous passages in harmonjes, superb in their accurate intonation, and a Study by Paganini, to these being added an ‘extra’ piece, a transcription of Schubert’s ‘Ave Maria/ the exquisite smoothness and purity and execution of Avhich defy description. The last item set down on the artist’s list was a Fantasia by Gndricek. another example of virtuosity, and then the furore commenced. M. Kubelik Avas induced to play piece after piece; handkerchiefs Avaved, sticks were banged, and men and women shouted with delight. Finally, the lights of the concert-room had to be turned out before the worshippers could be induced to disperse, only to throng the exits, so that a passage had to be actually forced through the croAvd to enable the artist to reach his carriage.”