SHARPS AND FLATS

New Zealand Times, Volume LII, Issue 12181, 4 July 1925, Page 14

SHARPS AND FLATS

Some of our modern young composers ought to be made to sing the music which they write for the voice.—Sir Henry Wood. Music must be, shorter and snappier. The chord must express a score of sounds used in the old music. . . The day will come when we shall not need an orchestra at all. I am experimenting now, and I have found that sounds far sweeter than any orchestra can produce can be transmitted by electricity—pure sound, not the artificial sound we call music now,—Edgar Varese. "I must have my food l Before the concert I had a steak weighing threeauarters of a pound and two glasses of Chianti.”—Dusolina Giovanni. Verdi's "O tu Palermo/ an opera which has now disappeared from the repertoire of most opera houses, possesses at least two good items, one' of which is "I Vcspri Sicialini/'—London paper. Not so well-known, perhaps, as the "Rigoletto” song from his "La Lonna o mobile.”—"Punch.” When you are nervous go back and keep quiet with Brahms and you will find you are petting a new lease of life.— ri*r Walfnrd Davies. . . . Chaliapin's "Volga Boat Song,” which I sing every morning on rising.— Alfredo Nardi. Some of our modern young composers ought to be made to sing the music they write for the voice.—Sir Henry Wood. To-day, judged by our standards, mqst of the mid-Victorian singers would do better in the police force.—James Agate. M. Chalianin soys that after he had sung in a village in Soviet Russia he got ten pounds of flour, one ham, five pounds of sugar, and a quantity of potatoes. We hope that none of this hit him.— "Punch.” The story of Errol Addison's life is terribly short, but it has an element of romance in it. He is still a lad, but from a humble appearance in a small show a few years'ago he has flown into the most exclusive roalms of Terpsichore. He is already one of the best known dancerß in England. He, with, his partner, Mdlle. Mitrenga, give us a little banquet of dancing. They don't follow any time-worn grooves in their work* Their technique is based on the age-old traditions of dancing, but they have refreshing and new themes, and nlto?ether their act is as ifc was when London first saw—a spell of beauty and deverneas from start to finish. They are now at the Grand Opera House with Long Tack Sam Company.