WORLD OF MUSIC

Southland Times, Issue 19279, 25 June 1924, Page 10

WORLD OF MUSIC

At Home and Abroad

(By “Andante.”)

Constant travelling seems to be no hardship for the Cherniavsky Trio, who, after their third trip around the world, are now appearing in Melbourne at the Town Hah. *We rather like it,” says Jan, the second of the brothers, and pianist of the organisation. “Really, it rests us, strange as it may seem. Even when we spend only three nights in three weeks at hotels, sleeping aboard trains for the remainder of the time, we are not fatigued. We keep in good physical condition because we are absolutely congenial, because we never worry, ■nd because we never discuss music amongst ourselves unless it is absolutely necessary. This is one explanation of our uniformly good health—we never fret. After a concert, we forget until the next one. There «re so many things to absorb one’s interest —so many things to see, and so many interesting people to meet. A single artist impends much of his time alone, or with strangers only—which is likely to make him iorritable and affect his health, but we are ■lone only when we want to be, and what bitprests one of us interests the others. We are chuma.”

The remarkable twelve weeks season of the Williamson-Melba Grand Opera Company has ended at Melbourne His Majesty’s—a season phenomenal artistically and in every other way—and one which has been a revelation in musical enthusiasm. The final night of the season was Thursday, the 19th., when “The Barber of Seville” was presented. This was Toti Dal Monte’s last appearance. Dame Nellie Melba jnade her last appearance on Monday night, 'he 16th., as Marguerite in “Faust.” The %dney season opened on the 21st.

During their American season, Leo, Jan, fmd Mischel Cherniavsky (now in Australia > renewed their acquaintance with John M’Cormack. the famous tenor. They first :met in 1906 in Cambridge, England, when M’Cormack was singing for 2gs and they were playing for sgs. Since then both have made musical history. M’Cormack now commands 4.000d0l in U.S-A. per night, and the Cherniavskys are headed in that direction —every year their fees increase. The recent success of these young artists in Europe, following.on their year's study with three of the world’s greatest greatest masters, is bound to have its reflection in the appreciation of all music lovers. The brothers are due in New Zealand shortly, and will appear in Invercargill later in the year.

“I shall always advocate music as an mportant part in the educational system,” said Mr S. G. Lavers, of Sydney, the vocal judge in the Christchurch Competitions Festival (reports tne Press). “It ultimately directs the mind into healthy channels through forming new conceptions of beauty in conduct, art and Nature.” Speaking of competitor. o in general, Mr Lavers said there was latent talent, which he hoped would develop into worth.

J. and N. Tait mention that in their negotiations with Mieczyslaw Muenz, the Polish pianist, for a tour of Australia, it ■was at first difficult to convince the young virtuoso that a season there would be worth while. Inquiry revealed that he had teen unfortunately misinformed about the potentialities and resources of the Commonwealth. An alleged modern geography, published in Poland, which he had been studying, was the cause of the trouble. Its information was very old. In fact, it gave Melbourne as it was in the fifties, declaring that it was “only the outlet for the Ballarat gold diggings, and was situated on a dirty stream called the Yarra.”

Sir Dan Godfrey, who was knighted in 1922 on the recommendation of Mr Lloyd George “for valuable services to British music,” comes of musical stock. His grandfather. Charles Godfrey, was bandmaster of the Coldstream Guards from 1825 to 1863; his father. Dan Godfrey, was bandmaster of the Grenadiers for 40 years, and was the first bandmaster to receive a commission. Two uncles were army bandmasters, and several cousins have followed the same path . Sir Dan himself broke the tradition, and became Director of Music to Bournemouth Corporation in 1893, a post he has retained ever since. His services to British music may be indicated by the iact that since the Bournemouth symphony concerts were instituted, 642 different works by native composers have been produced, of which 153 were actual first performances. In “Memories and Music,” (Hutchinson and Co.), Sir Dan tells the story of his life. He has met most of the present stars in the musical firmament, and a good many of those who are no longer shining. His collection of stories is excellent.

‘lt wil be curious,” writes a contributor to a London journal, “to watch at Wembley whether the flowers around the bandstands are affected by the music. Cyclamens and carnations are so averse to jazz music that th°y turn their backs upon it, and if turned towards the music again, repeat the gesture quite decidedly. 1116 Easter lily, too, will have nothing to do with music. The reason for these airs, so to speak, is not known, but presumably the vibrations affect in some way the delicate protoplasmic fibres ■»>f the plants.”

How many are acquainted with the fiist Gilbert and Sullivan opera, or even know jts title? It was “Thespis, or the Gods Grown Gid,” produced at the Gaiety Theatre at Christmas, 1871. There are several curious things about this herald of the great Savoy partnership. One is that it only ran a month; another, that the score was not published; and another, that Sullivan used most of the music in the later works. One dancing chorus made its spIjearance almost entirely in the "Pirates” 7—Climbing over rocky mountains.” Savoyards, young or old. will find many other interesting pages of this sort in Mr S. J. jAdair Fitz Gerald’s “Story of the Savoy Opera” (Stanley Paul)—a remarkably full ; and well-illustrated history.

< We hear (says the London Daily Chrondkdet of a Southend robin which, faced by she competition of the 2nd Royal Scots *Band, still sang on, determined to be heard, lie stuck to it until he attracted public attention and admiration. Finally, when the bandstand was illuminated, he put forth all tie energy and continued to challenge the British army until long after every other bird had gone to roost. STELLA POWER’S TRIUMPH. REMARKABLE SCENES. There was a greater power and brilliance in the performance of “Carmen” at His Majesty’s Theatre on Saturday night than any previous production of Bizet’s work during thia season (says the Melbourne Herald of June 2). There was also a new interest. Miss Stella Power made her debut in opera, and met with a triumphant success. As Micaela, she had a role to which her pure and even voice is naturally suited, but her most ardent admirers did not expect so meritorious a performance. And the most enthusiastic member of the excited audience was Dame Nellie Melba, who paid tribute to the “little Melba” frpm a dress circle box. She applauded vigorously, cried “Bravo” and threw flowers on to the stage. But the entrance of Micaela was no indication of what was to come. Miss Power >as palpably nervous, and made her slow approach in search of Lon Jose (Signor Piccaluga) more shyly than ever Micaela would have done. Her voice was thin and fbe made her hurried departure from the toldiers without any mark of applause from the audience. In the duet with Don Jose, when Micaela comes with a message from his mother, Miss Power suddenly seemed to grip herself, and from then on gave to the pure and innocent girl a simple and com charm, while her voice. Ireah

clear, carried equally with the full-throated •tenor. After the beautiful lyric passages of the duet there was a storm of applause and the action of the opera was held up. The ovation was even more significant after the heartfelt aria in the third act, which was beautifully phased and sung with perfect intonation. Finally, Miss Power stood among a display of floral tributes, and was congratulated by other principals of the company. There is never any forcing in Miss Power’s production. A complete repose of style and equalised vocal charm is evident throughout the wide range. Signor Franco Paolantonio paid the highest compliment that a conductor can bestow on his orchestra. In the first portion of the prelude he stood without his baton and merely gave an occasional direction by nodding his head.