MUSIC

New Zealand Times, Volume XXX, Issue 6489, 8 April 1908, Page 6

MUSIC

(By "G" String.)

Mr Philip Newbury reckons that hui method improved greatly under Clerici, tho trainer of Caruso,

It ie interesting to not© the dates oiti which great t?oprauo singers have conquered London. Patti came in 1861; Nilsson in 1867; Albani in 1872; Melba, icr a less degree, in 18S8; and Luisa Tetrazzini in 1907.

"Full many a flower is born to blusk unseen,'* is ns true in musical matters as elsewhere, and Messrs J. and N. Tait have just had another instance brought before them of the truth of Gray's lino, A few days ago (says tho MoEboumo “Sporting and Dramatic News”) a Span* lard called at their Melbourne office and stated that he came on behalf of a lady, a countrywoman of his, who was desirous of making her debut as a concert singer m Australia. Sho was a native of theCanary Islands, and from her youth had, shown herself the possessor of a remark* ably beautiful soprano. Her teachers in. Madrid', whither she wont for study, all advised her to seek a professional career, but m Spain, it would appear, the stage* is regarded as lowering to the dignity, and her people refused to allow her lo follow the vocation she was inherently fitted for. However, shb did ignore the parental behests, and in Barcelona appeared several times at concerts, making such a deep impression that she was offered an engagement with an Italian Opera Company at Milan. Her father heard of the oner, and raised such strenuous objections that her idea had to be abandoned. Hatriage with a business man with extensive commercial connections in tho Philippines and . elsewhere followed. Shortly afterwards they came out to Melbourne to bo nearer tno seat of his operations. Tho friends eh© made out her© wore quick to recognise her gifts and to disabuse her mind of tho idea that a concert singer, in this democratic country, is regarded as a being l apart from society. The visit to Mosera J. and N. Tait was tho result, and when eh© sang for them it become apparent that a new singer of prominence had arisen on the musical horizon. Melbourne will no doubt be given an opportunity of confirming that impress ion j*tho near future.

Kubelik, the celebrated violinist, nr* rives in Sydney by the Morama from Vancouver on May IGth.

The first appearance of 1L Debussy; in England—where of late he has been tho best discussed of living compose™— aroused curiosity and interest to no small degree, and there was a large and representative audience at Queen’s Hall, London, on Saturday afternoon, February Ist, whidh greeted mm very warmly ai ho stepped on to the platform to conduct his "L'Apres-Midi dun. Faune." It would be exaggeration (says the "Morning Leader") to suggest that he is a greater conductor than most other composers who have net much practice, and although it was interesting to notice a few details on which he threw a new light, he did not teach us anything about his work which we had not already learnt from Hr Wood. Indeed, we have heard better and more piotnreequo performances before, and M. Debussy showed us bow faithfully Mr Wood has reproduced his intentions. More interest attached te the 1 performance of the three Esquiases Symphonlqnes, or Symphonic Sketches, "La Mer," which axe his last orchestral work and were completed in 1905. Tho throe are entitled respectively' "From, Dawn te Noon at Sea," "The .Gambols of tho Waves,” "Dialogue Between the Wind and the Sea." They seem to be tho work of a very clever imitator of the composer of "L’Apre-Midi." The external peculiarities of the style are more emphasised, and there is loss invention, for all the elaboration. The ingenuity with which the atmosphere is produced is undeniable, and there are moments of great charm throughout, especially in the second number. ■ Inti that, too, 1 the composer approaches more nearly to consistent development than elsewhere. It is an obvious criticism that the music lacks elemental force; but the composer's answer to this would be, no doubt, that his aim was to reproduce by his music the questions caused by the contemplation of the eoa in its various moods rather than to imitate the sea iself, Tho orchestra played the "Sketches" admirably, and they wore very heartily applauded. Prof. Hugo Becker played Volkmann’e very difficult but somewhat commonplace Violoncello Concerto with wonderful brilliancy and breadth of style.

Frans Lehor, the composer of "The Merry Widow," has finished an operetta, entitled "Peter and Paul in the Castle of Indolence." It is based on a faiiy story, and has os its especial feature a large children's ballet ■ .

Geraldine Farrar, the United State* prima donna, is reported to have said at the Berlin Royal Opera recently: "I'm an American, but truth compels me to l admit that there w no art in the United States. There is only money there. Americans, moreover, aro deficient in artistic appreciation. America produces talent—that is apparent from tho largo number of ne now singing in Berlin —but in our own country wo all would be impossible. Had we sang there, nobody would have known whether wo sang well of badly. America™ cannot judge music, because they are utterly lacking in understanding. Aid is an impossibility in a land of political corruption. Where money is so much needed for elections there is none, loft to build opera houses." This frank 1 statement has aroused a chorus Of indignation from some of the United States papers. The Philadelphia “Public Ledger" devotes a whole page bo proving that the United States pays about- six millions a year to foreign musical artists, and that America is overwhelmed with European musicians and singers seeking to make money by the Americans' love of music. The “Lodger's" estimate of the amount spent on foreign artists and in musical education in Europe is as follows; — 1 . - . ■

The Americans studying music in Europe are spending 3,000,000d0l a yearpursuing a will-o’-the-wisp, perhaps/but still voicing a national aspiration. Even tho partial list of not proflts made by the foreign artists this year mokes a bill of 2,300,000d01. Hero are the more imoortant estimates:— . !

Those estimates are altogether overdrawn. Tho amounts said to bo earned by star 'artists must have been based upon figures supplied by advance agents or managers. The figures, however, after making some reduction for exaggeration, go to > show that Americans can appreciate artists who come to them with a European reputation Miser Farrar’s complaint is that her countrymen do not Know enough of art to recognise a native artist until ho or she has crossed the ocean and obtained, ft European certificate of merit-

Del. Paderewski 160,000 160,000 Kubelik ... .. 100,000 Sembrich ... ... 86,000 Calve 85,000 Melba •. ... ... 85,000 Nordioa ... ... .. 75,000 Garden 30,000 Chorea in two opera houses 60,000 Orchestra in two opera houses.. 20,000 Corps du ballet in two opera houses ... 43,200 Other opera companies ... 290,000 Conductors ... 100,000 Pianists ... * .. 100,000 Violinists and 'cellists 100,000 Concert singers 200,000 Miscellaneous 100,000 Vaudeville stage ... • (... 50,090 Hoyaltios and manuscripts 250,000 Americans spend in Europe 250,000 2.343,201 American students abroad. .... 3,000,001 5,343,200