MUSIC IN AUSTRALIA

New Zealand Times, Volume XLIX, Issue 11224, 1 June 1922, Page 3

MUSIC IN AUSTRALIA

HIGH STANDARD OF APPRECIATION. EMINENT IMPRESARIO'S COMMENT. "The Australians and New Zealanders are undoubtedly a most musical people, and I am sure they are going to make great headway as music-lovers, and in producing lino musicians. Speaking in the light of thirty-two years' experience in the leading musical countries of the world, I do not think I can praise too ; highly the enthusiasm for music to be 4 found in Australia and New Zealand." Thus Mr Daniel Mayer recently summed up his impressions of Australian audiences after his tour of the Commonwealth and the Dominion a few months ago with MUcha Levitski, the distinguished pianist. As to the peoples of these lands in other respects than music, declared Mr Mayer, he simply loved them. “They are so sturdy, frank, and independent/' ’he remarked, “and, let me add, wonderful in their hospitality. I can assure you that, if I could think of retiring, I should be delighted at the prospect of settling down for the rest of my days in sunny Australia/’ Everywhere, said the eminent impresario, lie had found Australasian audiences most appreciative, but they were particularly intelligent in Sydney, Brisbane, and Christchurch. By intelligent, he meant that the people showed, musical intelligence; the best of this was that the things that were musically hardest to understand received the greatest applause rather than the more obvious and glittering compositions. Before there could be a higher standard of musical taste there would have to be a great deal more orchestral and chamber music. While vocal music was more entertaining, orchestral an<L chamber music was much more educative, and there should be far more abundant opportunities for the people to hear such music. For this reason, Mr Mayer proceeded, it was somewhat of a pity that there was not a full enough realisation of the important work being done by Mr Verbmgghen, the head of the New South Wales State Conservatorium of Music, and that there should be a certain amount of carping at the money he received. Under his new arrangement with the Government Mr Yerbrugghen got ,£2OOO a year if he gave a hundred concerts. GabTilowitsch, whose equal Yerbrugghen was, got 35,000 dollars—more than £7ooo—for a season, of seven months in Detroit, Michigan, which ’might have as big a population as Sydney, but relatively was not so important. In Sydney he had heard many people rsk why the conductor of the orchestra should be paid more than the Premier of the Stater The answer was that Premiers could be made, but great conductors were born —and not every day. Vcrbrugghen, he considered, was one of the world's five greatest conductors, and he could in Europe or America tarn fay more than what he was satisfied with in. New South Wales. It would be nothings less than a calamity to Australian music if Mr Yerbrugghen was attracted to another country. "I should be sorry," continued Mr Mayer, 'To have my remarks regarding'' Verbrugghen misconstrued as a reflection on the Australasian attitude towards music. On the contrary, as music-lovers I think the people are simply marvellous. Nowhere in the world is it possible in a town of lees than 100,000 inhabitants to give three concerts a week and have the same artist play, to sold-out houses each time; nor is any city of less than a million population t<o be found in any other country where nine or ten concerts could be given within three weeks, as • was the case with Levitzki in Sydney and Melbourne/*