FROM A MUSICAL NOTEBOOK

New Zealand Times, Volume LII, Issue 12211, 8 August 1925, Page 14

FROM A MUSICAL NOTEBOOK

About the end of this year Signor Notariollo will bold' his first recital in the Theatre Royal (Christchurch) and later on, after .a Dominion tour, he will return to his native .land to fulfil engagements which are under offer to him there. I “Poor %lusic!* Cinderella* of the I Muses!- In latter years my experience ! as a teacher has confirmed the conviction ' that musio is the art which suffers much mote than any other of her sisters from the fact of so many people dabbling, not so milch in the execution as in the teaching of it Take, for instance, 6inging. Who! would dream of taking lessons in painting from a mail who cannot paint? And yet there are successful teachers of singing, in so far as they have plenty of pupils, who cannot sing, and whose claim to a knowledge of the art is found to be resting solely on the feet of their having some time or other acted as accompanists to famous teachers or singers whoso ways and means they have learned to know.'* —Prom "Musings and Memoirs of a Musioian," by Sir George Henschel. Here is* a novelty in *ongs: There are three versfes, and each contains every letter of the alphabet except “e.’’ Also each bar of tlie music contains every note of the 6cale with the exception of "E." The verses run as follow: A SONG WITHOUT AN "E." A jovial swain should not complain Of any buxom fair Who mocks his pain apd thinks it gain To quiz his awkward air. Quixotic boys who look for joys Quixotic hazards run; A lass annoys with trivial toys. Opposing mail for fun. 1 A joyful swain may rack his brain And tax his fancy's might, To quiz is vain, for 'tis most plain That what I say is right. / The song was written by Edward N. Marks and composed by W. T. Belcher. _ *■-.*■* * In. memory of the late Sir Frederick Bridge a tablet was unveiled recently in Westminster Abbey by Canon Carnegie. The tablet records that Sir Frederick Bridge was Organist of Westminster Abbey, 1882-1918. and that he was "Faithful in service, skilled in music, and loving m friendship.'' The ceremony took place after the three o'clock service in the Abbey, which was snug throughout to musio composed by Sir Frederick. During the singing of the hymn "The Sower went forth Sowing," the choir and clergy, followed by members of the congregation, .moved through the nave to the West Cloister, where the sub-Dean unveiled and dedicted the memorial tablet. ■ Prayers followed, and then the choir sang, unaccompanied, “Sunset and Evening Star.” It has been suggested that the most fitting public memorial to Sir Frederick would b 6 the foundation of a scholarship or prize, to be known as the ‘ Bridge Memorial," to assist ex-chorist-ers. of the Abbey to obtain education on leaving the choir scho.ol.

"Art is not nccessarilv. solemn," observes Dr. Percy D. Buck in "The Scope of music,'' reprint of a oeries of lectures delivered at Edinburgh University; ■ "but it is always serious. There are other walks of life in which the confusion . pf these two words has done untold harm, ■ though in none more than art. It is true that the time, has at last arrived when onp. can speak of a 'great' work like Too Mikado' without being considered flippant.; but it is still unsafe, at sUI events in England, to speak too openly of the demerits of avourite hymn-tunes. Not , that they are solemn —one of the complaints' against them is they seldom ara-bnt that their solemn purpose is supposed to place them on a pedestal where disparagement involves blasphemy Jt was Mr G. K. Chesterton, I think, who onco: pointed out that any educated man could write a leading article for "The Times.’ while not one jo a ?js!!? a od could write the front page of ‘Tit-Bits. So tho writing of a learned eight-page fugue to sacred words is within the power of any musician who cares to waste his timo learning how todo *t; T* l * tf Tie tries to set the words. Ihe sim whose rays are all ablaze,' and then compares his music with Sullivan’s, he will have no doubts as to which is the more 'serious* task." BIG ARTISTS A MUSICAL "WHO’S WHO. ZIiIBALIST, "EFREM, Violinist (Pronounced: Zim-bal-ist). Another famous virtuoso has been i J'Sr e £- n k 0 of celebrated players for /His Master's Voioe.” The "young Russian, Efrem Zimbalist. who has created au?h a stir om the Continent, in Great Britain,.andl America, was born at Bostto Don in 1890, began to study the violin at the age of eight, amt (at seventeen completed his musical education under Leopold Auer. His debut at i'etrograd was sensational, and. his subsequent tours through England and America have earned for him a place among the first violinists of the day Zimbalisrs selections are most attrac- ; tive ones, and include two of his own compositions, besides several selections made m company with 'his wife, Alma «luck These numbers exhibit adm;rably this young artist’s beauty of tone, fine phrasing and graceful delivery. ZANELLI, HENATO, Baritono Pronounced: Tsah-nel-lee). This remarkable young 1 Chilean baritone who, with a \smgle step, has taken nis place among the great singers, has been added to our list of artists. Although he is only in the twenties, he isnot simply an artist of tho future," he is an artist of the present nnd a great one, Zanelli has a true baritone voice SU!?t range, power, sweetness, and flexioility. His operatic debut took place success, fully in Decumbor. 1919, with the Metropolitan Upera Company, New York. SHARPS AND FLATS I thought that Mr F J E. Weatherly would he a man of quite six feet high' as everyone would imagine who had read / or sung the magnificent verses which he Vl?tten. Ho reminded me of Piiisuti. Pmsuti was a little min, yet he wrote T fear no Foe in Shining Arm--9, 1 ,’ I’' 1 ’' , Meyerbeer also was a little man.— Charles Manners How I would :have enjoyed hearing tousa plavv ' Yes, we have no Bananas. "* —Jascha Heifetz. I suppose I am very old fashioned, hut 1 'have never heard a note of jazz. lam i very curious about it. I have heard so much about this American invention. I , cannot even imagine what it will sound like—Nicholas Medtner. ■ ' While all musicians have gone red, the violinists alone 'have stayed behind, hold’to th «.f or t of C Major. The pianists neglect Beethoven for Bnrfcok: The singers turn to Sehonborg and jazz. But the violinist stands pat. What was good enough for Ins father is good enough * TViip” ' " Y ?i ar J: f H?i.X 6ar /‘ Th « Deril’s f A ri y •* • all tho little treasures, the c 'Hyphenated sweet meats, the arrange- 1 ments and transcriptions, Over and over, r and over again!—Paul Kichanaki. i >