GERMAN MUSIC

Southland Times, Issue 18834, 29 May 1920, Page 11

GERMAN MUSIC

PROTEST BY AUDIENCE.

SCENE AT A LONDON CONCERT.

What has been predicted by regular London concert-goers for a long time has taken placc--a protest from the audience against German music.

In the programme of nearly every orchestral concert of late German compositions have been prominent, if not in the majority am! although members of the audience held strong mows on the subject they have tolerated instrumental where they would not have tolerated vocal German.

But the German language wan offered exclusively by M. Mischa-Econ, in a classical song recital at the Aeolian Hall, in New Bond street. He had repeated the first line of his first item, Beethoven’s “Adelaide,” when a gentleman in the centre sta.ls rose and said: "I protest against this abuse of a British hall.”

Cheers and hisses greeted the protest, but other dissenting voices were heard from all parts of the hall.

“Sing in English—we will not have the Hun language here,” shouted someone. “Vou ought to be ashamed oi yourselves,” retorted a sympathiser with the vocalist. "Call yourselves Englishmen ? What about fair play'?’

Appealing to .several young men in the balcony, a man called; "Lome on, the Highland Brigade.’' Mi.scha-Leon attempted to speak, but all he could be heard saying was, "I am a Dane, and relatives of mine fought in the British army. I sing these songs for the love of art.” Mine. itiiseha-Lcon, who got up to remonstrate with interrupters near by was toid lo sit down and, tearing that sue was to be molested, her husband leaped from the platform crying, "Leave my wife alone; leave her alone.”

After further spirited protests the manager of the hall prevailed upon the interrupters to desist or leave, and tiie programme was continued —in German,