BARTH SCHOOL OF MUSIC

Otago Daily Times, Issue 18293, 9 July 1921, Page 13

BARTH SCHOOL OF MUSIC

An entertainment was given last, night, in Burns Hall by some ot the pupils attendin the Barth School of Music. Tho hall was tilled in every part lay an audience that was very evidently entertained, and that expressed appreciation cf the music supplied hy lavish applause. In opening (lie proceedings Mr 11. Barth slated that tho school had been established for just lb nionias. '1 he programme was not comprised for the most pari of music of a too serious or classical nature, its object being to entertain rather than to expound; consequently pieees had been seleeted which were representative of the entertaining and enjoyable part of tlie school’s studios rather than the more serious and classical part whtch was fully explored in the studios, in examinations, etc. There were a largo number of pupils in the school and many players of the more advanced class had had to bo excluded, the selections having boon made from those learning from only seven months up to those in an advanced stage in order to show the different grades in the tuition. Mr Hat Ill’s promises were amply redeemed. \\ bile some ef the selections were of a more ambitious nature than the pupils can yet, fully interpret—such as Mendelssohn’s And'Mite and Hondo (,'apriecio” and Liszt’s "Rhapsodic IJongroisc No. 6” —there was not one that did not receive intelligent treatment. Tho Misses Barth and their assistants evidently encourage their pupils to think for themselves, while directing their thoughts into tho right channels. They also wisely encourage tho youthful players to memorise, for in very few instances last night was music used. The drudgery of pianoforte playing, if it may thus be termed, such as lingering, sitting at tho piano, and wrist instead of elbow playing, are evidently carefully watched, and most of the young pianists have acquired what may be termed the “singing” touch. There was very little slurring of notes, and very few slips wore made. In the duets and double duets there was at all t:me s a. complete understanding amongst the players, and there was thorough accord in time. Taken c.ltogetuer, the entertainment was a. most enjoyable ore, and reflected gro.it credit alike upon pupils and teachers. Tho following was th.e programme : —Double nun, Marionette'. overture (Gurlitt), Roderick M'Donald, Mairln Pierce, Horace <le Clifford. Raida I'rederic; solo, “Pixies on the Water” (Brown). Nell Barth; solo, '‘Allegro Burlosco ’ (Kithlau). Olive Moroton; duet, “Turkish Hondo” (Krentzlin). Olivo Mereton, Dulcie Kirkwood; solo, "Birds, in tho Trees” (Schaffer), Maida Pierce: solo, “Pierelto” (Chnminadc), Horace do ('llford : solo, Valse Entrainante (Wachl, Reginald M'Kay; duo, “Golliwog's Cake Walk” (Debussy), Mary M'Donald, Irma Pierce; solo, '‘Arleqttine” (Chaminado), Roderick M'Donald; solo. “Rustle of Spring” (Striding). Irma Pierce; double duo.

■’Zainpa” (flerold), Vona Story. Florence Jones, Mollie Ronaldson. Lilian Payton; “Non e Vor” (Mattel), Jim Harris; solo, “Andante and Rondo Capriecio” (Mendelssohn). Mary M'Donald; doable duo. Gram! March (Schubert). Erie Ewart, Frank Scofield. Jim Ham’s. Pat Wales; solo. “Pas dcs Eseharpes” ((’linminade), Vona Story; solo, "Hexentanz” (MT)owoll). Marjorie Allan; duo. “La. Sevillane” ((Jiituiinade). Maizie Wood. Eric Ewart; solo. “Jardin sous la Phti” (Debussy), Grotfa Logan; solo. “Rhapsodic Ilongroise, No. 6” (Liszt). Maizie Wood; double dim, “Anitraa Dance” and “In the Hall ef the Mountain King" (Orcig), Maize Mood. Dorothy Grigg. Gretla Logan. Doris Gardner; solo. “Borseuse” (Chopin). Dora Hancock; double duo. “Pool and Peasant” (Snpp.e). Mav Keid. Mavs G.icve, Dora Hancock, Ethel Todd.