MUSIC.

New Zealand Mail, Issue 1612, 21 January 1903, Page 32

MUSIC.

MOTES BY 0 SIRS NS Mr Armes Beaumont, after forty years' work on' the concert platform, on the operatic stage, and. in oratorio, has decided to retire finally from the public practice of his profession. On hearing of his resolve. Madame Melba, in the most generous spirit, offered to sing for her compatriot, with whom she often appeared in former years, if he arranged to give a farewell concert. The famous prima donna has left for AVestern Australia, and the concert will take place on her return, before- she sails for New Zealand. # * •••/* V * The Nelson Amateur Operatic Society has closed its year with a credit balance of about <£3B. # * * . * * Miss Maud McCarthy played recently with the Boston Symphony Orchestra, and scored a success in Brahms's violin concerto. The young violinist is said to have recently gained greater strength of tone. ft Mr Philip Newbury re-appeared in London at 'the Erard concert in the Albert Hall in November, singing “The Message" and “Tom Bowling." At this concert also Miss Marie Narelle, of Sydney, was one of the singers. # -* * . •* -> Miss Alice Hollander is making headway in England, and has had many appearances at provincial concerts, as well as several in London itself. She sang at Mr George Grossmith's benefit at the Queen's Hall on November 4th. and as a result of singing to Mr Percy Harrison, the well known impresario, was to appear at Mdme. Adelina Patti's concert at Bradford on December 17th. Miss Hollander recently enjoyed a three months’ e tay in Paris. # * * * * Madame Melba has allowed all the artistes she brought oqt with her to Australia (excepting Signorina Sassoli, the clever young harpist) to depart' on the recent conclusion of ,their engagements. She has now selected Miss Elva Rogers, a new Melbourne contralto, and Mr Walter Kirby, tenor (who hails from New Zealand) as vocalists for the remaining Australian and Maoriland concerts. Mr H. Stoneham.'who is familiar in New Zealand as a capable flautist, has been playing Madame Melba's obbligatos at yecent concerts. • * * * * The proposal of the South Australian (Agent-General (Mr H. A. Grainger) to ) form, an Australian Musical Society in yUondon, with a view to introducing per-

formers to the public through the medium of special concerts, has not been favourably received by some Australian writers; but I must say that I can see no valid objection to the proposal. Such a scheme will materially assist the youthful musician who has brains and talent but "sither money nor influence, and if nothing else Cffllld bi " d iff its favour this would be quite sufficient to it. Of course, those who form the controlling power in these concerts will have to exercise much fact and patience in gently staving off the Australians who find their way Home under the belief that they can sing or play or both, when in fact they can do neither; but I should imagine that in this task the authorities will receive powerful assistance from the audiences themselves. After all, though the public is very frequently wrong-headed, it is not muiish. and it invariably follows a good lead. * * * * *

Mdlle. Antonia Dolores will follow Mdnie. Melba to Perth and New Zealand, giving farewell concerts.

M. Gustave Garcia, a member of the great teaching family, has just provided a plausible explanation for throatiness in singers:—"A guttural or throaty voice," he says, "is the result of sound pinched and strangled, which enables the singer to produce high notes, although not without force and violence. The consequence is that after long rehearsals or performances the throat can no longer bear the strain. With the proper studies the voice would settle down within its proper range, and probably prove to be a baritone. Tenor voices—l mean real ones —are frequently throaty, especially when the language isi guttural; but with application and study this defect can be overcome. A fine, vigorous voice is always a rare article. It always has been, nor is it likely tiiat matters will improve unless young voices are treated more judiciously. Manuel Garcia often said that young singers ouglit not to study declamatory music until they had attained tlie age of twenty-live."

Mr Sousa is to bring three soloists to Australia for his band concerts. These are Miss Estelle Biebleng, a popular American soprano; Miss Grace J enkins, violinist; and Mr Arthur Pryor, a solo trombone-player. "

Several singers known in the colonies are singing in England as members of the Royal Carl Rosa Company. Mr Robert Cunningham, who visited Australia not long since, was praised for his Tannhauser, which he is stated to act dramatically besides singing well, in a cast of which Miss Eucille Hill was the Elizabeth. The tenor was also the Manrico of a cast in which‘our recent visitor. Miss Lilian Coomber. was the Leonora. Miss Annie Walker, who hails from Australia, was the Shepherd Boy in the Wagnerian work. Mr Arthur Deane, of Sydney, has been a principal baritone with the company ever since his last appearance in Sydney with Mine. Amy Slierwin's concert party. Mr Arthur Deane is summed up as "a most melodious and spirited Escamillo," to a new Russian Carmen, Framleiu Toni Beiter, of Riga; and he is also the favourite Wolfram of the company. The two conductors at the head of affairs are Mr Eugene Goossens and Mr Walter van Noorden.

According to the “Daily Mail," the systematic exclusion of British composers and musicians from London concert rooms is arousing considerable feeling in musical circles. Sir Alexander Mackenzie, principal of the Royal Academy of Music, said:—“English compositions are studiously ignored at the chamber and orchestral concerts, with the exception of those promoted by the Sunday Concert Society and' the Philharmonic Society. One might easily imagine one's self to he in Berlin or Paris instead' of in the capital of the British Empire." Sir Alexander, however, may find some solace in the announcement that Mr Frederic Dawson, with the help of the Philharmonic orchestra, will play his Scottish concerto in Berlin. It is unfortunately true that the doors of the Symphony Concerts at Queen's Hall and the popular concerts at St. James's are firmly closed against English music. Mr TV. Boosey. of Messrs Chappell and Co., says this is due to the refusal of the public to listen to anything but foreign chamber music. “It is different," be added, “with light opera or ballad music, which the public insist shall be English, and we meet the demand accordingly." The London concert-going public certainly cannot be charged with insularity. In the prograinmes of the six Symphony Concerts at Queen's Hall there is to be found but one English name among the composers. * * * * * A movement is spreading in London for providing cheap musical entertainments at municipal expense for the toilers of the thickly-populated metropolis. It was proposed by the Battersea Municipal Council to establish a series of municipal concerts during the winter months, but, although the London County Council has recently voted <£12,000 for the bands which play in the open air durinlg the summer months, it has been decided that borough councils cannot assist in the artistic education of the masses without exceeding their powers. The Battersea concerts have, therefore, been taken up by philanthropic private individuals, who have fixed the lowest price of admission at one penny, and the highest at sixpence. The programmes will include not onlv songs and organ recitals.'but also recitations and bioscopic exhibitions.