MAORI MUSIC.

Timaru Herald, Volume XCVIII, Issue 15162, 4 October 1913, Page 7

MAORI MUSIC.

IN MODERN COMPOSITIONS.

VALUABLE RHYTHMS. An interesting interview with Mr Alfred Hill, containing that ■ man's experiences in search of Maori themes, which he afterwards utilised for his -tfaluable composition, was recently published in the Sydney "Evening News." Mr Hill believes that the Maori got some of his musical ideas from tho birds, the notes of which in Maoriland are remarkably tuneful. "Some of our feathared songsters," he says, "have quite a range of notes, and it is known that the Maoris imitated the bird calls." NATURE'S SECRETS. __

In Mr Hill's view, the Haka and war dance, with their wonderful rythmical shoutings and expressive gestures, gave a vivid idea of the emotion at the back of a storm. Now it might be asked how the Maoris could express a storm with their very limited compass of notes. ""Wagner," says Mr Hill, in his wonderful storm-scene, at the beginning of his opera, "Die Walkure," answers this question. Wagner was a seer, and heard the voice of the storm night. In fact, when you hear his ever-recurring I) D D D's through dozens of bars, murmuring, growling, and bursting forth only occasionally, in suggestion of lightning and thunder, yon say to yourself (if you are a New Zealander), 'Why, this is the same glorious monotony that I have heard in the Maori war songs.'" VALUE OF THE RHYTHMS. "If it were only for the ryhthms, Maori would still have something to add to our modern music. Every Maorilander knows (or ought to know) ■ the well-known 'Kainate Ka mate,' and its vigorous rhythms. Many of us havo he«ra the 'Haul up the Canoe,' and where have we met with rhythm to better this? What accents 1 What a swing! How it sways and surges, like the roll of a great,and proud war canoe! : '

Reference having been made to Mr Hill's use of Maori ideas in modern musdc, he "In 'Hinemoa,' a cantata s ior solo voices, chorus, and' orchestra,' only one Maori theme was use ?-. Til]s was Tutanekai's flute theme and it was worked out in all sorts of ways right through the cantata. The unmistakable beauty of thjs theme (notwithstanding its remote pakeha origin), was always remarked on by press and public alike. I am sure there are many people who could hum this 'melody, so great was the impression it mad© upon them when they heard it performed. In the "Ra Ha" war chorus, the spirit from the genuine article was taken, and Mr Edward Tregear, when he heard it, said that anyone who heard the old-time war songs, and \seen the Maori dances, would feel the spirit of them come upo-i him when listening to the "Ra Ha _ chorus. He had not thought it possible to express the Maori so well in our niodeni music." "TAPTJ."

When Mr Watkin Mills went to Auckland on, his first visit to New Zealand, he saw "Tapu" performed, and was so nmch taken with the Maori element in the music that before leaving Auckland for - Australia he expressed his delight with the opera, especially the Maori portion of it. He also desired Mr Hill to compose a Maori song for him, and "Tangi" Va Maori lament) was the result. Mr Mil's sang this ballad throughout New Zealand, Australia. America, and England. After Mr Watkin Mills, Madame Albani showed a liking for Maori 52?,P- "* happened," continued Mt Mill, to be one of a number of musicrans who gave madame a friendly we:oome to Dunedin. On introdncedto her Madame Albani said she had heard a good deal about Maori songs, and wanted to knew if I could let her have one or two. Thinking she was only paying me a graceful compliment, and not realising that the great artist wotrTd "be bothered .looking ?* , neW ' songs, on her New Zealand tour laid not send her any of my efforts. What was my surprise ' on seeing - her later to be chided for mv neglect. She really wanted to hare the songs, and would ems. them if th«y Butted her

voice. Later she wired me that she was delighted' with the charming Maori 'Canoe Song,' which she afterwards sang in public in London." ' When Mr Kennerlev Rumford heard the "Waiata Poi," he asked Mr Hill to teach him to sing it, and afterwards introduced it on ' many of his programmes. Mr Kennerley Rumford sang the song in London before an audience of 6000 people. An orchestral accompaniment was played by the London Symphony Orchestra, under Mr Frederick Cowen, the well-known composer. • ,