NOTES FOR WOMEN.

Otago Daily Times, Issue 18759, 12 January 1923, Page 8

NOTES FOR WOMEN.

NEW ZEALAND MUSICIANS MSS S. MURRAY AND MISS V, MOORE. JOINT RECITAL. / DAME MELBA’S GRACEFUL FORETHOUGHT. (Thou Oxjh Own Cobeespoitoent.) LONDON, November 30. Miss Stella Murray (Christchurch) and Miss Vera Moore (Dunedin) have every reason to be well pleased with the great success—alike artistio and financial —that resulted from their joint recital on November 24. All the scats in the Wigraore Hall were occupied, and the musical audience thoroughly appreciated the interesting programme. Miss Murray’s naturally beautiful contralto voice is always improving, and it wiyi <jasy to appreciate to what a marked extent it has developed within tihe past year. Its quality is even and liquid; in its use it is never forced; there is no striving after extreme, notes, an effort so tiring to the listener; every phrase conies easily and evenly with expression and with marked clarity of diction. The applause accorded the singer was well merited, and many complimentary remarks woro to be overheard all round

Miss Moore, too, has made great strides as a pianist. Her action—dclicatn or powerful —is a pleasure to watch, and nor music is a delight to hear. In pianissimo passages she seems to do little more than stroke tno keys, and from this gentle touch she gets tho moat telling results. Her sense of rhythm is well developed. She certainly has made the most gratifying advance since she *,ame under the tuition of Mr Leonard Berwick, the noted pianist who takes only a few specially-gifted pupils. He, by the way, was present with a party of friends, and so were many other interesting people belonging to the English world of music. The recital opened with Bach’s English suite, No. 111, in G minor, in seven movements. which Miss Moore played all through, with great expression and delicacy of finish. Miss Murray's first group was composed chiefly of sixteenth and seventeenth century numbers, which included Orpheo, by Claude Montevorde (1568-1643), aria from “Themistocles,” by Guisonpo Orlandini (1642), recit. and air, “When 1 Am Laid in Earth, by Purcell (1658-1695), and Brahms’s “The Sandman” and “The Blacksmith.” To the varied requirements of these quite different items the singer’s voice was well suited. Next Miss Mooro played with fine oxecu tion the well-known and somewhat exacting Prelude, Chorale, and Fugue by Cesar Franck. Miss Murray followed with a second group consisting of Rachmaninoff's “The Lord is Risen” and “The Little Island,” Hugo Wolf’s “The Gardener (which was irresistibly encored) and Uome, - Mary, Take Comfort,” and Harold Craxtons arrangement of Psaim civ, “Bless Thou the Lord, 0 My Soul.” Mr E. Newman, writer of: “Come, Mary, Take Comfort,” allowed the words to appear in tho programme. It is well described as one of the most curious and at the same time most, exquisite conception? in modern music. It is profoundly true as a piece pi psychology; it sounds just the rignt note of tender solicitude. A curious feeling of pilgrimage is induced by the careless flow of tftirds in tho right hand symbolical, to my mind, of the two figures moving sido by side in the night; while the consecutive fittlis and sixths in tho left hind give an atmosphere of spacious quietness. The more one examines the song, indeed, the more of a psychological tnumph. dbes it become.” Miss Murray s reading was expressive and impressive. As an encore she sang Tchaikowsky’s “None But a Lonely Heart” —and so brought to a happy conclusion her part of the evening s onter--4 tdinment. Delicate playing and grace ot rhythm were features of Miss Moore s final selections—Ravel’s “Une Barque sur iTjooan” and Debussy’s “Hommago a Kai4feau” and “Poissons d’Or.” ■4Both the artists received numerous bouquets and gifts of baskets of hothouse fruit and choice chocolates. . Among those present one easily recognised Mrs Curwen (the inventor of the wonderful method of training children and the writer of books on psychology), Madame Ada Crossley, Sir A. Bowlby (the eminent Burgeon), Lord and Lady Strathspey, Sir Westby and Lady Porcival, Lady Doughty (who had a party of friends), Lady Parkinson, with whom was Miss Phyllis Murray, Lady Nina Knowles, Captain and Mrs Marcief Dr J. C. Bradshaw, Mr Mavon Ibbs, Lord and Lady Phillimore, Sir Gerald and Lady Ryan, Mr and Mrs Gerald Ryan, Lady Dorothy Moore, Mrs Charles Mooro, Captain and Mrs Wmkley, the Hon. A. M. Myers and Mrs Myers, Mai or and Mrs Stewart and Mr Douglas Stewart, Mr and Mrs H. de Vries, Mrs Henry Mood and Miss Hope Wood, Mrs WdhamWood Mr and Mrs H. D. Cottnll and Miss Cottril, Mrs Gore Newell, Madame Hamelius Wilcox. Miss Nora Delmarr, Mr H. *’• von Haast. Lady Parsons, Mrs Godby, Mr L. G ’Rhodes, Mrs W. H. Montgomery and Miss Ehona Allen, Mrs F. M. B. Fisher and Miss Esther Fisher, Mrs and Miss Richmond, Mr and Mrs Frederick Mooro, the Misses Laurie. Mrs Box (sister-of Dame Nel-lie-Melba), Miss Herbert, Miss N. Haybittle Miss Maida Hooker, and Miss Marjorie Bain, Dr and Mrs Grosso, Mrs Agnow, and Mr and Mrs Hurst Seager. . -Vmoug the criticisms made by eminent musical authorities, that of tho Daily Telegraph stands out with prominence, the writer describing the concert-givers as two very gifted musicians from New Zealand, and saving; Miss Murray has sung m London, before, but the pianist Miss More, wu» plowing for the first time,before a West End They are, on the whole, a well-matched pair. Miss Murray’s voice has developed greater power since we last heard her, white retaining at the sam© time unimpaired its admirable evenness and rich eonorous timbre. Old songs, such as the anas ot Orlandini and Purcell, Miss Murray sings with tho distinction that is inseparable from a naturally beautiful tone, whether j produced by an instrument or by the voice. f But she is quite equal to music of an intensely dramatic typo, and her singing ot Rachmaninoff’s “The Lord is Risen was one of the completely satisfactory and stimulating performances of the evening. Hugo Wolf’s “Como, Mary take comfort showed complete command of a i lovely mczr.a voice, and Harold Craxton a able sotting of some verses from Psalm civ, brought put to the full the line resonance of her voice. ... , Mias Vera Moore, a pupil, we believe, of Mr Leonard Berwick, chose a pretty strenuous programme, but she come through the ordeal with flying colours. A first appearance is somehow like a maiden speech. The inexperienced orator is apt to say things that' were never contemplated in his preparation—and reflect, maybe, some capital idea tho moment has suggested or simply the mirage of on elusive thought. Similarly the now performer may discover now powers or fail to do anything like justice to the powers ho possesses. Miss Moore ■was in this respect the exception for, ■whatever she may have felt, she am not reveal in her performance the slightest anxiety. Her playing of Bach s English Suite No. HI in G minor was admirably balanced and finished in detail Cesar Franck’s exacting Prelude Chorale and Fugue” lacked perhaps a little weight, but the general conception of the work was austere and tho execution neat and polished. The Times critic regrets being unable to hear more of the programme He wrote: Miss Vera Moore’s playing of Bach s Bnehsh suite in G minor was refined and selfcon trolled. Her musical touch and a clear sense of rhythm were particularly enjoyable In the Gavotte and Musette. _ Miss Murray has a beautiful contralto voice Purcells “When I Am Laid to Earth (transposed to suit her) showed her good qualities oi style and aiction. , , i The Morning Post considered the Bach work to be played “in a scholarly manner, while Miss Murray “sang impressively. It should be mentioned that Mr HarokCraxton, tihe accompanist, placed with imicn sympathy, and so greatly helped the voca-ist. It was a great disappointment to Game Nellie Melba that she could not bo present, for she takes great interest in Miss Murray s proiress. However, an engagement of her owif at Manchester had to be fulfilled’, but she was represented at tho recital by. her sister and niece. 'lbis, however,; was' not all for she. had the happy inspiration to send Miss Murray as a present a beautiful dress, made by her own dressmaker. Phis was; of rich brocade in emerald green and silver, made with floating slant panels of , crystal-worked green tulle and finished with a heavy tasselled girdle of silver cord, tho corsage was elaborately worked ■with crystal ■beads and bugles. Damo Melba has suggested that Miss Murray should give another recital in May. If this takes place Dame Melba will accord her patronage. Last Sunday Miss Murray was singing m Birmingham, fulfilling an engagement at the Town Hall. The other star artist on the same day was Melsa, the talented violinist, lately back from his tour in New Zealand.

THE MODERN GIRL The modern girl, whoso vices and stupidities were exposed and denounced I lie other evening at the Institute of Hygiene by Dr Agnes F. Savill, will no doubt take her scolding complacently. It is possible she was not present in the Institute ot Hygiene wiien Mrs Savill delivered her lecture, and so must learn of the indictment from her newspaper—that is, of course, from the headlines. It would, perhaps, be going too far to suggest that these prematurely aged products of “society life” — “already, before the age of 20, as worn out and nerve-tried as if they were 40” — do not exist, but it would certainly bo unfair to pretend that they are a characteristic typo of the girlhood and young womanhood of our day. Some “society” girls, no doubt, are "ruining their digestion and impairing their livers’’ by too much smoking, too many cocktails, and possibly even too much whisky. For that we must accept the evidence of Dr Savill's professional knowledge. But the average observer encounters (few signs of the withered beauty that is the penalty of these ill habits. Middle-aged people complain sometimes of the hardness, the lack of sentiment, and the selfishness of the girls who have become young women since the war. The young men of their own generation are also critical, but that is because young people nowadays are more sincere than their parents were, make few pretences about the things that matter, though many about the things that do not. As for ill-health, is it seriously suggested that the girl of to-day is less fit physically than her mother or her grandmother before her? If so, the sad cases of those ailing maidens are kept very dark, and by some gigantic conspiracy we are permitted only to see the happy Georgian girl exulting in her freedom to dance and swim and play her outdoor games. No doubt there is an element of truth in the charges made by Dr Savill, just as there was in the famous attack by Mrs Lynn Linton, in the late 'sixties of last century, upon The Girl of the Period. But that truth is eternal. Youth never has been willing to mouth the shibboleths of middle-aged prudence, and has throughout the ages incurred censure accordingly. But that does not mean the censure was unjust; it simply shows it to have little effect. Similarly, the forebodings for the future of the race may seem, to those who indulge them, the soberest deductions from the fads. Unfortunately, they have been made often before, .nifty

years ago the public was invited to believe that it was witnessing “tho last phase of tho gracious womanhood of England, that womanhood which once stood as tho symbol of all home virtues, all sweet sorvicoableness, all tenderness of love and loyalty and duty.” Jezebel was declared to be queen. But she lived to be a delightful grandmother, and though her daughter, as described in the Nineteenth Century of 25 years later, was "painted, dyed, and powdered according to the mode, her lips red with wine and moist with liqueur,” and her granddaughter is, according to Dr Savill, precipitating “the downfall of modern civilisation,” our flesh refuses to creep Mouth has a way of becoming middleaged. In its turn it sets an example to tho young, and in its turn is flouted. Should the day come when youth makes age its leader, then, and not till then, may wo despair. That will be tho clay when our race is ended—tho zest of life gone, and no quest remaining for youth.—Daily Telegraph.

LONDON FASHIONS AND FANCIES. designs. A feature of the newest millinery is the decorative brim. The brim ot a very attractive velour hat resembled a pie-dish frill, the velour being cut in very narrow strips and doubled under. Another model made of moleskin had a brim composed ot loops of fur; the top of each loop was drawn lightly to one sido to reveal a lining of emerald brocade. Brims are slashed at the buck and sides; into the aperture are sewri short, stiff feathers or enormous bows, Distinctive models show brims made entirely of stiffened ostrich feathers, which stand out in a rigid halo from a crown ot rolled velvet.

Small toques are made entirely of ribbon intricately plaited and twisted. In such tints as fuchsia, plum., and rust-red these toques are ideal for wearing with big fur collars, which are now so fashionable. Very smart women are wearing the new Venetian veils, which snugly wrap the shoulders like a capo and fall to the knees in front. Very decorative hatpins are composed ot a material resembling plaster encrusted with atones, A single hatpin of this, type would be sufficient trimming for a small black velour or velvet.

Very long and very large earrings are fashionable and are worn with novel evening head-dresses.

A recent model consisted of a closefitting turban of black gauze entwined with gold beads. With it were worn huge rings made of gold and cut jet beads. There is a distinctly Egyptian headdress made of iridescent beads and tarnished-silver passementerie, having on both sides of the head flat plaques which completely cover the ears. For those women who do not care to exploit exaggerated modes there are beautiful filets made of flexible plaques of cut jot; or three-inch filets of white glove kid embroidered with tiny jet and steel bends. , All the newest filets, ir “headache bands,” cover tho forehead and almost hide the eyebrows. A feature of many new gowns and suits shows a much decorated hem. On simple, rather plain toilettes special attention is drawn to the hem lino on account of its colour and novel treatment. Most striking of all is the beaded hem on suits. A suit of dark blue woollen velvet exhibited by a famous London house had a chockboard pattern in blue bugles on the hem; another noticeable toilette composed of softest white cloth showed n border at the skirt edge of thin strips of eiro ribbon held at intervals by small jet plaqueHems of fur reach half-way up tho back of evening cloaks. A well-known English designer in using these very wide fur hems makes the top edge of the hem follow strikes scroll designs to break up tho rather r wnioh would otherwise occur where the fur joins the material. A distinctive touch is given to a fur wrap or .long coat of jacquard cloth by a brifhant border placed inside a garment that is lined with a quiet-toned, unpatterned material. The new skirts which have no seams and are open down one sido have a

decorative plaque or clasp on tho hem. The sleeveless dance-frock will be seen in the children's ball-rooms this season. Especially effective on these sleeveless frocks are ribbons which hang from the shoulders or trails of chiffon blossoms and tissue foliage, with narrow ribbon intermingled to take away the severity of the neck-line. Taffetas is a favourite material for tho little girl’s frock, and sufficiently thin and decorative to serve tho dual purpose of dance and ordinary party wear. Crepe de Chino, chiffon, muslin, silk voile, and Iho plain and spotted .muslins and tulles are also much used, and in every case the trimming is simple.

Tho plain, straight bodice with a rather but not exaggeratedly long-waisted effect is generally liked. To a straight taffetas corsage may be added a skirt with scalloped flounces reaching almost to the waist, or tho hem of the skirt may bo cut in petals and bound or edged with hand-made roses, little bay leaves, or a ruche put on straight or iu arabesques. Then, again, there is quite a good effect to be obtained by piping applied to the corsage sido teams, anil giving a ruched appearance to the corsage, or suggesting a back and front plastron, in which case piping round tho skirt, below tho waist, makes a diversity.

Piping that contrasts in colour and material with the rest of tho dress lookp exceedingly pretty. _ In the case of an orchid mauve frock shot with gold, gold tissue was used for tho pipings. A sash is a necessary part of many childish dance frocks. On plainly cut models it is arranged effectively m large bows at the back.

LONGER SKIRTS. ‘ FROCK ING AT RANDWICK. A Sydney writer, referring to the dresses worn at the A.J.C. race meeting at Randwiok last month, says: Tho revolution has com©, and is now right upon us. Far months there have been warnings, written and otherwise, that the clay of the ankle-length frock was here. The Sydney miss declared her revolt, but she stands to-day in the role of a beaten warrior, with the dross designer as the victor.

Gradually have they stolon a march on us. Inch by inch have the skirts been creeping down, until—well, they went in a jump at Randwick on,Saturday, when frocks that were ridiculously long had as com-

patriots sleeves so ridiculously short that they might not have been sleeves at all. lii place of the elbow-length sleeves of satm 04- tulle ■were long-hanging wings or side-panels, suspended, os it were, from a button-piece on the shoulder and displaying a length of bare arm that was not always just us it should be. For the Sydney girl loves 1 life outdoors and the sunshine, and her complexion sutlers o.s a consequence. It will bo some time, too, before she will be able to revert to her old style of walking, which in the day of the longer skirt must take the placa of that freedom of step wliich characterised her in more recent times. { The dressing on the whole was dull, par-' tioularly so. Save for the few bright spots hero and there, one might almost have been pardoned for suggesting that one-half of femininity irrcsent had been on their way to Coogee, when thov decided to try their luck at Rand-wink.

Tubbing frocks of gingham and zephyr made their appearance everywhere, crossed and chocked in contrasting shades, corded and braided, and intermingled with bits and pieces of organdies and voiles in brightest tones.

Judging by examples seen on Saturday, parasols are plaving an important part in the season's fashions. In varying shades or toning with tho frock, they are lavishly trimmed with hows and ribbons, and one lovely shade of coral pink was petal led all over from handle to brim with delicate edgings of black and white silk Very effective are the girdles and sashes made of straight, lengths of knitting, and which adorn many of the smartest frocks. They may match or contrast in colour with the main material of tho frock, and very often the ends arc worked to form stripes in Roman colonring, or a pattern of contrasting colours is knitted in.