MUSIC.

New Zealand Mail, Issue 1798, 22 August 1906, Page 26

MUSIC.

BY “G” STRING. The Melba Prize (Sopranos) at the Poyal Academy of Music has been awarded to Ida Kahn; Aileen Hodgson, Beatrice Hnghes-Pope, and Clara Smith being highly commended. The Melba Prize (Contraltos) to Isabel F. Harvey, Constance Dogard being highly commended, and Gertrude Inglis commended. Ihe Heathcote Long Prize (male pianists) has been awarded to Francis Hutchens (Christchurch, New Zealand); the Joseph Maas Prize (Tenors) to Thomas Gibbs (Ystradgynlaie, Wales), Hubert Baker and Dennis Creedon being highly commended. _ * At a sale of stringed instruments held a few weeks ago in London the following were some of the most prominent lines:—A cello by An Gisalberti, .£750; violin by Joseph Guarnerius, £105; violin by Carlo Tonomi, £6B; and violin by Gisalberti, £46.

M. Paul Vidal, who was born in 1863, and was a winner of the Prix de Pome at the Paris Conservatoire when BO years of age, has been appointed conductor at the Paris Opera House, in succession to M. Taffanel, who is retiring. M. Vidal has composed two operas, "Guernica,” brought out at the GperaComique in 181)5, and "La Burgonde, produced at the same house three years later.

A new musical accessory in the shape of the "Gabriel horn” has been invented for the übiquitous motor car. One form of this instrument gives a musical note of varying pitch and intensity. This is worked directly from the exhaust pipe of the motor, and it can be applied to any multiple cylinder car. An improved horn of this type having eight separate pipes is a sort of miniature pip© oigan, which is • operated by keyboard, and is capable of sounding a full octave. Ihe improved horn can be made to play various melodies by any one familiar with the keyboard.

THe Cambridge "University Operatic Society will give performances of M. Andre Messager’s "Mirette” at the Seal a Theatre, London, on Monday and Tuesday afternoons, the 25th and 26th June. This melodious work was originally produced at the Savoy in 1894, and its revival should prove very interesting, especially as the representations will be conducted by M. Messager.

Miss Marie Narelle, who shortly tours New Zealand closed a successful season at His Majesty’s Theatre Brisbane on the 3rd August, when the talented singer was accorded a very hearty sendoff. Miss Narelle has been called the Queen of Irish Song, and the sweet music which won her that title figured largely in the evening’s programme, ‘'Come Back to Erin,” "Barney O’Hea,” Killaruey” “The Low-backed car,” and (FDonjieuAboo” were amongst the national items rendered with all the accustomed skill of the singer, and repeated encores fell to her lot. Miss Narelle also sang Tosti s "Spring,” "Madcap Majorie,” "Bonnie Banks of Loch Lomond,” and in conclusion the appropriately and charming number, Tosti’s "Good-bye.” Mr Chester Fentress commenced with "Berceuse de Joclyn” (Boddard), which he sang very acceptably, other items, including "Allan Water,” "The Cruiskeen Lawn, ’ and •"Oft in the Stilly Night.” The last mentioned was given by special request, much to the delight of all present. Miss Narelle and Mr Fentress also sang A Venetian Boat Song” (Tosci), which proved one of the most enjoyable items in the programme. Miss Constance Brandon Usher accompanied the singers, several pianoforte selections by the same lady being warmly applauded.

* * * The Bach Concert, held recently at Aeolian Hall, London, to obtain contributions for the fund organised to purchase Baches birthplace, has resulted in a profit of <£lso, and Sir Edgar Speyer has forwarded this amount to the Bach Society at Leipzig. £1,300 is required to secure the old house, and half of this sum has already been subscribed. * * * A a recent concert by the Blaser Chamber Music Society of Vienna, an interesting novelty was introduced. This was a “Sonata in B flat” for flute and pianoforte, supposed to have been written by Beethoven. The MS of the work belonged to Artaria. It afterwards came into the hands of Dr. Arich Prieger, of Bonn, but now rests in the royal library at Berlin. Included in the movements of the sonata are an allegro, a polonaise, a largo, and a set of variations as a finale. The MS is not in Beethoven’3 writing, and doubts are expressed as to whether the master actually composed the work, which, however, met with a decidedly favourable reception in Vienna. * * * A German writer has written a pamphlet pointing out the resemblance between Wagner’s “Santa” and Ibsen s “Lady of the Sea.’ 5 * * * Grieg was interviewed immediately upon his return to his native land after his recent English visit, and among other things said that he regretted that in the last few years he had been unable to compose, especially in the larger forms. 111-healtli alone had prevented him from completing a strung quartet and a trio. Once started upon a work, Grieg’s habit is to finish it at once, and to protect him from the strain which this involves his medical advisers have insisted on his abandoning composition entirely. The Norwegian musician was amused by the number of autograph hunters who sent him photographs to sign. On one of these, a particularly bad specimen, he wrote, “This is not Edvard Grieg.” Grieg paid a high tribute to Mr Percy Graingers playing of his “Shatter,” saying, “He’s a young man of genius, possessing a r >al artist’s soul.”

Mdlle. AntonO> Dolor*® commenced her Australasian tour at the Town Hall, Sydney, on the 9th inst. In noticing tho conceit; the "Herald” says: A brilliant audience assembled at the Town Hall last night to greet once again, in the gracious person of Antonia Dolores, one of the most charming of the star sopranos who have visited this country during the present generation. Mile. Dolores is strangely little altered m voice or method since she was last here more than three years ago. Itumour h.».d it that the voice had become heavier, but the change in that direction, which took place before her departure, has not been further accentuated. The beautiful soprano quality is still retained in all its purity and roundness throughout the immense range which distinguishes the organ. In all the varied styles of music interpreted by the great French soprano last night, there was_ again i display of the vocal breadth, absolute finish, and rue individual charm which, have won Sydney audiences on former occasions. It need hardly be said that the enthusiasm was sustained and renewed again - and again throughout the evening. But, over and above this, there was quite a new note of pride, and a sense of almost personal triumph, in the joy with which Mdlle. Dolores was welcomed back. This arose from the feeling that in her brilliant victories in all of the many capitals of Europe she had recently visited or had justified the confident hopes and predictions of her many thousand friends in Australia. Mdlle. Dolores has been a favourite here since her original debut at the Centenary Hall (as Antoinette Trebelli) on December 7, 1895. The world of music is one of classification and comparison, and this singer has been of inestimable value from an educational standpoint by setting up a standard to which our audiences, perhaps unconsciously, have been accustomed to refer. For long years past Sydney amateurs have recognised Antonia Dolores as a great singer. These exact words were used in our review of her season ended April 20, 1902, with the addition “She must be regarded as a veritable star, and her ultimate return to Europe after 10 years’ absence will undoubtedly cause a sensation in musical circles.” Bxit as regards the "outside” body of concertgoers, the general public, there was no true realisation of Dolores’ great position as one of the most artistic singers of the day until October 25, of that year. The French soprano then opened a season here a few days after our own Australian diva, Mme. Melba, had drawn £9990 in by a few appearances—an experience which is unlikely to be repeated here by any artist during the present generation. Then it was that the outside public came into line with professional and expert amateur opinion on the subject of their favourite’s actual status in the world of art. The marvellous character of that. Sydney season of six concerts in the Town Hall to vast audiences was emphasised by the fact that it formed the seventh of the eight visits to the city by Mdlle. Dolores during her two years’ continuous touring in Australasia. Even in the case of the brightest and best of our own nativeborn singers, such ail extraordinary record of popularity has not been surpassed. Hence the liveliest satisfaction may now be felt in the return of this idolised singer with the glow of European approval upon her, surrounded by the prestige which belongs to brilliant successes in association with the Philharmonic Societies of Lfcipsic, London, Liverpool, Leopold, Lausanne, Strasbourg, Dresden, and Munich.

The Dolores song recitals have always won popularity upen lines which show quite a lofty disregard of the means to that end usually employed—therein lies their unique charm. It was emphatically, but the opera in question was comtherefore, to open her programme with J. W. Prank’s “Sei nur Still,” a reposetale of Europe she recently visited the beautiful old hymn, and to immediately follow it with the classic tenderness of Bach’s “Willst Du,” also given with studied restraint. From these the singer diverged into a group of the old English numbers she renders with such seeming simplicity—the highest development of art — an d sweetness; Purcell’s setting of Ariel's song “Come unto these yellow sands.’ 5 Arne’s “The Lass with the Delicate Air,” and as encore, Haydn’s “The Mermaid.” However, “great music for great singers” and when Mdlle. Dolores embarked upon the recitative and aria of Ceres from the old opera “Proserpine,” the full power of tho splendid voice was suddenly revealed to the enchanted audience. Many composers have chosen the above mythological subject, notably Lully, but the opera in question was composed by Paisiello in 1803, for Napoleon Bonaparte, whose chapelmaster he was at the time. It was Paisiello whose “Barbiere di Siviglia” was eclipsed by Rovssini’s, and he is still familiarly known to English people by his little air “Nel cor pin non mi sehto,” which English children sing as “Hope told a flattering tale.’ 5 The aria rendered last night for the first time in Australia deals with the lament of Ceres that her search for her daughter Proserpine borne off by Pluto to the infernal regions has been fruitless. Mdlle. Dolores declaimed the recitative with impressive dramatic spirit, and expressed all the resigned melancholy of the noble air which followed. The vast range of the music, and the perfect manner in which the singer met every demand upon the voice, caused quite a furore, and the floral gifts, which had taken various quaint forms, rvere renewed. Other numbers which may be mentioned are “Batti, Batti,” and “Caro Nome,” the latter faultlessly given so as to preserve as much as possible the effect of soliloquy, with a brilliant terminal shake which again excited enthusiasm. The encore was a 'TLullaby/* by Brahms. The encore after Massenet s Quancl on Airne” was Liza Lehmann’s “O tell me, Nightingale;” and after “I’ve Been Roaming, 5 ’ the diva a double encore, giving first Auber’s “Laughing Song” with inimitable gaiety and charm, and then “Home, Swoet Home. _ Mdlle. Dolores looked remarkably well in pale blue “ninon de soie” and held her audience hardly less by her gracious, smiling dignity than by the purity ot her art. Messrs J. Eduard Sykes and

Fran,z Wells alternately accompanied the star.

Mr Franz Wells made his debut with the Andante and Finale from a Schumann Sonata (0p.22), and latei playe Grieg’s "Tone Poem” and Chopin s "Impromptu in G flat.” The new American pianist is a quiet player of thought and refinement, with, no doubt, a natural preference for the classics. He was cordially received, giving as encores Slchumann’ls "Warung and Chopin 6 "Prelude in A major. '

Mr W. H. Montgomery, who arrived in New Zealand a few weeks ago to 30m his brother’s clever combination has had a large amount of experience on tlie operatic stage and concert platfomi. in the course of conversation, Mr Montgomery said: —"It was in London about 1890 that I first commenced concert singing. My first master was Mr Charles Brahani, eon of the famous tenor, Mr John Braham, who wrote the Death of Nelson ’ and other well-known songs which took London by storm. He was my tutor up to the time of his death. 1 then allied myself with Signor Bonetti, the greatest Italian singing master iu London at the time. It was when I was singing at concerts in London m r>t. James’ Hall, Alexandra Palace, and Crystal Palace that my vocal power attracted D'Oyley Carte, the pioneer of Gilbert and Sullivan’s famous operas. He engaged me immediately, especially for tho "part of ‘Grosvenor’ in the opera ‘Patience,’ and my first appearance in that part was at the Prince’s Theatre, Manchester. I might here state that the Manchester ‘Guardian’ commenting on my first appearance in that part, said: ‘Mr Montgomery’s beautiful voice enables him to do justice to the lovely music given to Grosvenor, which he sings with great taste, and he acts the part with ability.’ After three years with the D’Oyley Carte Company, I was engaged by Mr T. A. Barratt (now known as Leslie Stuart the great composer) to sing at St. James’ Hull, Manchester. This hall is capable of seating 10,900 people. I was also engaged by Mr W. H. Jude to sing at Liverpool. I then returned to opera, and took the part of ‘Sherwood’ in the opera ‘Dorothy,’ being engaged by Mr W. B. Redfern, who was mayor of Cambridge for five consecutive years. In that role my great song was ‘Queen of My Heart,’ and in the same part I toured the whole of Great Britain and Ireland. After a short concert tour of six months with. Miss Adelaide Petchon, the great American reciter, and Walter Van Noorden (now proprietor of the Carl Rosa Opera Company the latter advised me ho sing to the late Mr Arthur Rouseby. I did so, and was successful. Mr Rouseby immediately engaged me to sing all the baritone parts alternately with him in his Grand Opera Company, which included over 109 artists, exclusive of the orchestra. I travelled continuously through the whole of the United Kingdom with the company. At the Grand Theatre, Glasgow, when Mr Rouseby was ill I sang for th© whol© week in Hi© leading role, having a different part each night. On Monday it was Don Jose, on Tuesday Count Alimien, on Wednesday Count di Luna, on Thursday Alto, in Cavelleria Rusticana, and on Friday Valentine, in Faust. It was when I was with the Rouseby Company that I for the first time in London the part ot Silvio in the Italian opera II Pagliacci in English. II Pagliacci was the opera that won the Grand Prix over the head of the famous opera Cavalleria Kusticiv na. at La Scala Opera House, at Milan. I have given a great deal of time to concert and oratorio work in London, ana also at London society ‘at homes. lam looking forward to singing tlie part oi Elijah in New Zealand. During my season of grand opera in Dublin, I sang for six consecutive Sundays at the Roman Catholic Cathedral, ‘There is a Green Hill Far Away,’ by Gounod. Father Healey, the parish priest, would not let me change the song, as there were people coming from far and near to hear me sing it. When I was leaving Dublin they gave a banquet in my honour. I was) engaged at the Palace Theatre, London, where I finished a season of eight weeks before coming to New Zealand to join my brother.”

Mr A. E. Tiggiu, of the Foundling Hospital, London, writes to the “Daily Chronicle” that in tli© time of Handel the orchestra was about as large as the chorus, at the commemoration festival in Westminister Abbey in 1784 the chorus numbered 274 singers and the band 250 instrumentalists. At the centenary performance of “Messiah” at the loundling in 1839 there was a chorus of seven-ty-one and a band of sixty-loui. ilio present style of enormous choruses and comparatively small orchestras ?? mv

in accordance,” states Mr Tiggin with the early custom, and though Handel, with his fondness for a great noise would doubtless have fully enjoyed a festival performance as now given at the Ciystai Palace, yet he would certainly have wanted his band to have been heard. ® . It is not surprising to learn (says a Melbourne writer) that two Berlin girls lost their reason by overstudy oi u agner, and suffering from acute melancholia, implored their * ea £iV e J’ Herr Carl Brunke, to kill them. They, prepared for the tragedy by putting on their best dresses, and unable to resist their importunities, Brunke, after a test, shot at some innocent furniture, uieii bullets into their hearts in turn. The Court, which tried him for murder, was not able to enter into the spirit of his politeness, and sent the obliging musician to gaol for eight years. Mme. Clara Butt* the famous singer, states that one of the greatest and smcerest compliments she ever received was given in Paris some years ago. Mie liad been (ringing in a concert at a private house, when an old lady came up ana shook her hands. "My child, she said, "you are an artist; you have teais m your voice. For the first time 1 have heard my dear husband’s song Rung as he would have wished to hear it. Let me thank you.” The old lady was tlie widow of Gounod, the great composer. * =* * It is stated in Berlin that Dr. Muck has not accepted the conductorslup of the Boston Orchestra permanently yet, as his contract with Berlin only expires at ill© end of 1907, and he has signed a new contract for 1907-1912. He has, however, been granted leave* to go to America from November to April next. * * * Miss Amy Castles was given her first opportunity of singing before the king and Queen almost immediately after a concert in the Queen’s Hall, London at which she had appeared in conjunction with Mischa Elman, the boy violinist. Her singing at this concert had. been paiticularly fine, and had aroused her audience to great enthusiasm. The meeting with the King and Queen took place while their Majesties were guests of the Earl and Countess de Grey at Kingston-on-Tliamee, about twelve miles from London. Her songs were:—"Ah Fom e Lui” (from "La Traviata”), "The Dove and ’Tis April” (by London Ronald), and Goring Thomas's "Wind in the Trees. ’ The ballads were added in response to a request from the Queen, whose liking for such music is well known.

The Hon. C. C. Bowen, Speaker of the Legislative Council, was a passenger from the South on Saturday. In noticing the entertainment given by the Stonham-Morrison Company at the Albert Hall, Auckland, the “Graphic 6ays . —l n the Gaumont Chronopbone, now showing at the Albert Hall, Albert Street, Auckland, the Stonliam-Morrison Company have undoubtedly the finest machine that has ever been brought out to the colonies, and their set of pictures is unique. The chro nop hone, which is the first of its kind seen in New Zealand almost realises the wish so often expressed when one sees a really good living picture: “If the figures could only speak!” By a clever electrical contrivance the chronophone shows the singer singing, and one also hears the song - words and the artist’s lips synchronising perfectly. The effect is most striking, and the enthusiasm of the large audiences that have been attracted to the Albert Hall augurs well for tlio success of the company’s tour of the colony. Some of the best items were, “Let Me Like a Soldier Fall,” an amusing song called “Ticklish Reuben,” ancl “The Coster’s Serenade,” a whistling solo. The company’s moving pictures, unaccompanied by the gramophone, are the finest we have had, and they are also brand new, which is a great recommendation. The enow scenes in Switzerland and winter games make a remarkably fine film of unusual length. Every picture is good, but among the more prominent are “A Message from the Sea,” “Elberfield Overhead Railway,” “Shooting the Rapids, Kill am ey and Esmeralda.” The comic element was supplied by really funny incidents recorded in “The Mad Golfers,” “Mixed Bathing.” and “Weary Willy and Tired Tim.” etc. Between the films items by the TJninue Quartette were much appreciated. The entertainment is a first-class one, and should not he missed by anyone in search of something new and something good. The company will open for a short season at the Town Hall, comnnencing Saturday next. August the 25th. The box plan is at the Dresden.