MR PERCY GRAINGER.

New Zealand Times, Volume XXX, Issue 6704, 30 December 1908, Page 6

MR PERCY GRAINGER.

A CHAT ABOUT FOLK SONGS. HIS MISSION IN NEW ZEALAND. In her second tour of New Zealand Madame Ada Crowley brings with her one of the most distinguished and brilliant musicians of the day. Percy Grainger is a name that has been frequently under public notice in the musical world botli at Home and on the Continent in recent years, lie is recognised as one of the best of the younger pianists of the age. It was only lately that Gilbert Webb, one of the eminent critics of the day, said of him: “He has a magnificent technique and the virility which always marked his playing is now allied to deep emotional iceling." South Australian by birth, it was only to bo expected that Mr , Grainger had a' splendid reception all through the Commonwealth, which was recognition not only of his brilliant abilities as a pianist, but of the many distinctions he has won in the great art centres of the world. A shock of very fair hair and a pair of brilliant blue eyes arc the things that strike the observer about his personal appearance. All the features are delicately chiselled, harmonising strangely with the mobile, sensitive lips. Chatting with a “Times” representative last ho spoke of the “.young modern sellout of British musicians" who amongst other things are very much interested in the preservation of folk songs. i. believe the folk song will come in time to exercise a genuine influence upon native composition," he said. “I recall as a child how I was tremendously absorbed by the Scandinavian folk-lore and fairy tales. Norway has always had a groat fascination forme. I cannot-explain why. It is not hereditary. It is that fascination that in later years suggested to me the value of folk songs and the valuable amount of thcrmatic material they oifered to composers. In late years I nave spent all my leisure time in collecting folk songs from the Ups of English peasants in various parts of Great Britain. In my wanderings I used a phonograph extensively for taking records of the songs just as the peasants sang them. X was surprised in finding out how readily old singers took to the machine. The opinions that some of the peasants offered when they heard the reproduction were somewhat amusing. One ancient gentleman said: ‘He’s learnt quicker than I.’ whilst another offered the comment that 'it do follow we np wonderful.’ A third said: 'lts like sragm with a muzzle on.' The phonograph has indeed been so valuable to me that 1 can only call it 'the recording angel of the folk songs.’ Whilst I am in New Zealand I hope to get hold of some of the Maori chants and songs. I‘rora what I understand, there seems to be a valuable lot of material to he collected in New Zealand that would be of great value and interest to musicians. It was a source of great pleasure to receive from the late Dr Grieg, the famous Norwegian composer, recognition of my own setting of some of the folk songs collecled.” “May I ask what lie said? . “Ho wrote to me," replied Mr Grainger, “just a few days before hie death, a letter in which he was good enough to ; ‘Full of genius as they are, you have bv them thrown a clear light upon how the English folksong is worthy of being lifted up into the niveau of art, thereby creating an independent English music.’ In course of conversation, Mr Grainger stated that he had been twice commanded to plav before Queen Alexandra at Buckingham Palace and the lellow Palace, Copenhagen. He has repeatedly played concertos with the conductor, Dr Hans Richter, who did so much to help him forward at the beginning of his career. Edward Grieg himself selected the brilliant young Australian pianist from among the world s pianists, to interpret his piano concerto at the recent Leeds Festival. Gneg wrote of him in the Copenhagen press as follows;—What is nationality? I wrote Norwegian peasant dances that none of my own countrymen can play or render, and here comes this young Australian and plays as they should be played I Ho is a genius such as wo Scandinavians must love." “I am a very keen admirer, said Mr Grainger in answer to a question, “of the modern French school, particularly of the compositions of Debussy and Gabriel Faure. It is a class of music that has aroused a good deal of controversy at Homo and in Paris itself, and I am just a little proud of the fact that I was the first pianist to play Debussv in London. I should very much like to say much in support of modern music, to explain also wny I look upon Zedenick Delins as one of tBo leading composers of the day, but the hour is late and I must wish you goodnight."