MUSIC

Sun (Auckland), Volume 1, Issue 25, 21 April 1927, Page 14

MUSIC

(By

F.1.R.)

MUSIC IN LONDON MISS ETTA FIELD’S RETURN CELEBRITIES AND CONCERTS After an absence of three years in London, where she has been continuing her musical studies, Miss Etta Field, the well-known soprano has returned to Auckland. During her three years’ sojourn Miss Fields took the opportunity of studying under Madame D’Argo and other well-known teachers, and returns with a musical experience considerably enriched as a result of an extensive association with the musical life of the metropolis. In an interesting interview with a SUN representative, Miss Field stated that largely as a result of the increasing popularity of broadcasting, the English concert world was now merely a shadow of its former greatness. With the exception of Kreisler, McCormack, Elman and a few others, artists found it almost impossible to fill the concert halls. The salaries paid were consequently very small, - and

sooner or later most of the artists found their way to America, where much better attractions were held out by promoters. Queen’s Hall, where Sir Henry Woods’ famous concerts were given, was still continuing to attract good attendances, but it was well known that the concerts were not paying, and she had not been surprised to learn on her return that the Queen’s Hall had been sold. MELBA’S FAREWELL Although unable to get to Melba’s farewell concert, Miss Field said that she heard the great prima donna’s farewell to London per medium of the wireless. “It was wonderful,” said Miss Field. “To hear her through the wireless you would think she was a girl of sixteen.” During her stay she also heard a number of the leading artists. With Hislop, the Scottish tenor, who is booked to visit New Zealand in the near future, she was very much impressed. He has a glorious voice," remarked Miss Field, “and is the idol of the public.” Although the prospects for singers were not very good there seemed to be no end of aspirants for operatic or concert careers. The president of the Dominion Artists’ Association had told her that there were about 5,000 singers in London trying to make names for themselves, and after her first year in London she w r as quite inclined to believe it. MISS MONCRIEFF'S CONQUEST Of Miss Gladys Moncrieff’s success, said Miss Field, there appeared to be no doubt. The morning after her sensational debut in “The Blue Mazurka” the papers were loud in their praise of the Australian artist, “Gladys Moncrieff’s Conquest” being one of the newspaper headings that caught her eye after that memorable premier. Miss Florence Austral was another Australian artist that was meeting with great success. Although overseas artists were well received, it was noticeable that the English were very loyal to their old favourites, and they were always assured of a good reception.

Although she had enjoyed every moment of her stay in England, said Miss Field, she was naturally pleased to get back to Auckland again. “After all,” she concluded, “Auckland is home, and that is everything. I will shortly be opening a studio, and then I will feel more at home than ever.” IMPROVISATION BEETHOVEN’S GREAT GIFT INEXHAUSTIBLE CAPACITY Beethoven not only improvised well, but, according to Paul Bekker’s recently translated biography of him,

preferred it to any other form of playing. “ When a concert tour was planned out he would undertake conducting and improvisation only, leaving the ‘clavierplaying’ to his pupil. Ries,” says Bekker. And again: In all his public concerts, with the exception of a few

~ composition evenBeethoven 1 ings’ during his last years, improvisation was the chief item on the pro-

gramme. “ The rush of feeethoven’s ideas at a given moment and their apparently inexhaustible capacity for metamorphosis are alike amazing,” continues this authority. “ Inspiration, once kindled, seemed unquenchable, image succeeds image, the spirit ascending in ever-widening circles, forsaking actuality, climbing towards eternity, like an eagle soaring into the sun. Beethoven forgot concert-room and audience, the world of time and space fell away. At times he would touch the keyboard in passing, and ,his imagination suddenly taking fire, he would remain beside the piano entranced, without change of his awkward position. playing, playing ceaselessly at the spirit’s imperative behest. Thus he first played the Eroica variations; thus for a few friends he improvised, not in the concise form in which they are now scored, and for two hours he maintained the same theme. “ Ries tells a similar story about the origin of the last movement of the F Minor Sonata, Op. 57. The two men had taken a long walk, during which • Beethoven hummed to himself, at times roared to himself, high and low, without actually singing a note, the whole way. When I (Ries) asked him what he had in mind, he said. “ I have

just thought of a theme for d.lie last allegro of my sonata.” The moment we entered his room, he rushed to the clavier without so much as removing his hat. I sat down in a corner and he forgot me immediately. For an hour or more he raged through the glorious new finale.’ ” ** # * “ I always feel that Paderewski, Caruso, KLreisler and all musicians who have put themselves body and soul into their art, are affording themselves and their listeners a glimpse of immortality and eternity right here on earth.”—Max Rosen.

An interesting series of concerts in conjunction with the Auckland Library Winter Entertainments Course has been arranged and will commence at Remuera on May 3, following with similar entertainments at Grey Lynn, Grafton, Epsom and Parnell, in that order. An interesting course will consist of concerts, lectures, debates, etc., and some very enjoyable and instructive entertainments should result. The following have made themselves responsible for the various programmes: —Misses M. Hooker, and B. Carr, Mr. and Mrs. Cyril Towsey, Rev. Jasper Calder, Messrs. Maughan Barnett, Barry Coney, F. Adeane, E. Waters, W. Impett, L. R. Eady and Son, and the Auckland Operatic Society. A Gilbert and Sullivan night will also be given by Mr. K. Atkinson and English madrigals by Mr. J. Tait, A.R.C.0., and his madrigal choir.

The question of debarring certain pieces which are too frequently heard is now being taken up by several societies following the action of the Wellington Competition Society in issuing a debarred list. Among the items which will not be accepted by the Wellington Society in the “ Own Selection” classes at the 1927 festival are “Prologue” (Pagliacci) “Star of Eve,” “One Fine Day” (“Madam Butterfly”), “Softly Awakes My Heart,” “ He was Despised',” “Voi che Sapete,” “Flower Song,” “Annie Laurie,” “ Banks and Braes,” “Robin Adair,” “ She is Far from the land,” “The Minstrel Boy,” “ Last Rose of Summer,” “Lolita,” “Ombra Ma Fu,” “Your Tiny Hand is Frozen” (“La Boheme ”), “Arrow and the Song,” “On With the Motley,” “ My Task,” “The Bird with a Broken Wing,” and others. One is inclined to think that with some of the above-mentioned numbers, particularly the operatic arias, it is not so much a case of having been heard too often, but heard badly sung too often.

One of the ultimate aims of Concert Tours, Ltd., in connection with whose future operations Mr. P. Haskovitch, a Russian impressario, has recently been visiting Auckland, is the establishment of an Australian Grand Opera Company, which would give regular seasons of grand opera as is the custom in the older countries and in America. Reinforced from time to time with a few imported artists. Mr. Haskvitch is convinced that there js sufficient talent in Australia, and possibly New Zealand, to make the proposition feasible. To bring this about he states that it might be necessary to build opera houses in Melbourne and Sydney, but did not think that even that would be beyond the dreams of those interested in that artistic adventure.

Music lovers of the Dominion will be pleased to learn that there is

of their having another opportunity of hearing the brilliant Kreisler, who in September next will undertake a tour of South Africa. Under the existing arrangements he will later undertake a tour ot the East, Australia and New Zealand. Should the New Zealand

tour eyentuate Kreisler will be here late in 1928. When making their first public appearance after completing a course of training many vocalists apparently think that they must have at least one operatic -number opposite their name. Referring to it as their “ big number,” they generally sing it first, and their relief when it is over, more times than not, is largely shared by the audience. Sopranos are the worst offenders. How often do we hear light voices for which a wide range of suitable and very effective numbers is available, attempting operatic arias which above all demand a big range and dramatic power? If vocalists would only restrict their repertoires to the songs suitable for their quality they would achieve much better results.

“Alert with enthusiastic expectation of something extraordinary, something glorious, of a super something from one who may be regarded as absolutely the personification of pianistic genius, the vast assemblage last night at the Town Hall awaited the Australian re-entree of Paderewski.” Thus an Australian critic refers to the first concert given by Paderewski at the Sydney Town Hall. “ Paderewski,” he said, “ revealed all his wonderful temperament, artistry and expressional gift, and he still has a technical equipment that enables him to convey with a natural abandon the spiritual meaning and intent of the composer. Some recitalists may ‘ blind you with science,’ but you can sit and dream with Paderewski.”

Included in the list of famous artists to visit New Zealand in the near future under the auspices of Concert Tours, Ltd., is Madame Alda, of the Metropolitan Opera House, New York, where she has interpreted the principal roles of many operas with Caruso, Gigli, and other world-famous singers. Madame Alda, who incidentally was born in Christchurch, is a niece of the late Mr. Martin Simonson, the impressario and conductor, who was well known in Australia and New Zealand in the ‘eighties and 'nineties of the last centurv. She will be accompanied on her tour by M. Rabinowitch, who was here last year with Chaliapin.