The World of Music

Timaru Herald, Volume CXXXVIII, Issue 19959, 17 November 1934, Page 12

The World of Music

I Notes and Comments of General Interest (By "Semitone”).

Major F. H. Lampen, producer for the Auckland Amateur Operatic Society’s forthcoming production of “Runaway Girl,” Lionel Monckton’s opera, has arrived in Auckland. Rehearsals for the chorus movements and general stage work of the opera were commenced immediately. Rehearsals for the musical side of the production are well advanced, and the chorus is making the most of the catchy numbers —“Soldiers in the Park,” “How I Love Society” and “Follow the Man from Cook’s.” The Australian premiere of the Russian ballet which J. C. Williamson has brought to Australia, under the direction of M. Victor Dandre, husband and impressario of Pavlova, has taken place in Brisbane. Headed by Olga Spessiva, together with Anatole Vilzak, the company comprises some of the leading dancers from the principal theatres of Europe. Several ballets new to Australia are featured in the repertoire. After Brisbane, seasons will be given in Sydney and Melbourne, with a New Zealand tour in the offing. A fine reception was given to Miss Hinemoa Rosieur, formerly of Auckland, when she succeeded in winning second prize in the Sun Centenary Opera Aria Contest at Melbourne recently. The first prize in the contest was £l3O and the second £3O. Madame Florence Austral and Mr Alfred Hill were the judges. Mr Dennis Dowling, also a New Zealander, won the first prize with 175 points, and Miss Rosieur secured 152 points. There were entrants from all the Australian states. The critic of the Sun wrote as follows concerning Miss Rosieur’s singing:— “Hinemoa Rosieur sang “Ritorna Vincitor,” from “Aida” with opulent but well-regulated volume, and dramatic apprehension. There is excellent compass to this voice, a little disturbed in its use of the vibrato, but exceedingly expressive in its mezza-voces. The singer’s second choice, the “Suicidio” from Ponchielli’s “La Gioconda,” enabled her to express herself with an appealing blend of its dramatic import and its air of resignation. The piano student will find the following exercise of great value both in familiarising himself with all the major and minor scales and in developing an evenness of the fingers on the keys. The same fingering is to be used for all. With the left hand play the C arpeggio, followed by its scale and chord. Then, with the right hand, follow the same model, but in C minor. Carry this model through all the keys of the scale circle till the C an octave above the beginning point is reached. Be sure that the rhythm is kept smooth and flowing, as this will add much to the interest of doing it. Now reverse the figure, and again proceed through the entire circle of major and minor scales. Twelve concerts by the orchestra are announced for the coming season of the Royal Philharmonic Society, in addition to which it will give on its own account a long series of Sunday afternoon concerts. Nine of the society’s concerts will be conducted by Sir Thomas Beecham, and one each by Sir Hamilton Harty, Sir Henry Wood and Dr Weingartner. There will be a Delius memorial concert, a concert commemorative of the 250th anniversary of Bach’s birth, and a Beethoven concert at which Weingartner will conduct the first and ninth symphonies. Other interesting programme items will be Sibelius’ first and fourth symphonies, and his music to The Tempest. Rachmaninoff, Myra Hess, Serkin and Smeterlin will play pianoforte concertos and Alma Moodie and Heifetz violin concertos, the leader of the orchestra will play Sir Hamilton Harty’s violin concerto, and Leon Goossens will play a new oboe concerto by Gordon Jacob. Major George Miller, M.B.E. who directs the Band of His Majesty’s Grenadier Guards, is a commanding figure when he takes his place on the platform before his men. Whitegloved, with sword and crimson sash about him, he leads his players through programmes rich in musical cheer and in experiences of tonal beauty of a kind not ordinarily vouch-safed colonials. The band is beautifully disciplined in its playing, and its programmes range from operatic airs with solos, duets, quartettes, etc., by piccolos, drums, trombones, cymbals, euphoniums, cornets, oboes, xylophones, clarinets, etc., to children’s nursery rhymes set to music. In fact, their programmes have been a revelation to Australians, prepared as they were to hear artistic ensemble playing from such expert instrumentalists. The marching of the bandsmen, tall as they are, has created a furore along the route of its progress, and every public

appearance in Melbourne and elsewhere has been an unforgettable ex- <, perience. Soon this picked personnel of forty men will be on New Zealand shores, as Messrs J. and N. Tait and Messrs J. C. Williamson have arranged a comprehensive tour of the Dominion before the band embarks for Home in January from Wellington. The tour commences at Auckland on December 4. and apart from indoor programmes there will be open-air performances when the evolutions of the men will demonstrate how the age-old tradition has come about; they comprise a unit expert in military precision. Wellington’s visit commences on December 15 with a concert in the Grand Opera House. As well as fastering an appreciate nof band music, the

visit of the Greadier Guards will strengthen the ties between Britain and her colonies. They may well be called Ambassadors of Empire.

Unaccompanied part-songs were featured at the Male Voice Choir held in Wellington on Tursday night. Three of the Grainger arrangements of Grieg numbers were included in the programme. A chamber orchestra consisting of strings, piano, reed organ and drums played orchestral arrangements of some familiar classics as well as the accompaniments. Miss Myra Clegg was the assisting artiste. Her contributions included an aria from Bach’s “Peasant Cantata,” and a group of more modern songs by Gretchaninoff, Rachmaninoff, and Martin Shaw. Stansford’s “Sea Songs,” for baritone solo, chorus and orchestra concluded the programme. “Lac des Cygnes” (Lake of Swans) with music to Tschaikowsky, will be one of the features of the opening programme of the Russian Ballet, headed by the famous Olga Spessiva, which is coming to Australia under the J. C. Williamson Limited management. Olga Spessiva will enact the role of the Enchanted Princess, and the principal male dancer, Anatole Vilvak, will be the prince. The company will open in Brisbane, with Sydney, Melbourne, and a possible New Zealand season to follow'. The D’Oyly Carte Opera Company established itself as a phenomenal success in the United States. Two things which seem particularly to have appealed to the Americans are the Savoyards’ “swell British accent” and impeccable diction. I a mby no means a member of that bigoted section of the community who think it a sign of superiority to decry all crooners, but says a correspondent in “The Gramophone,” I hope the company will be able to persuade young America that there are also other types of singing. It looks as though this may be the case, as . the New York press is particularly strong in praise of Derek Oldham —and one could hardly class him a crooner. Every concert given in Auckland by Philip Hargrave, the Adelaide boy pianist, has but further confirmed the golden opinions of his Australian critics. The lad has shown a remarkable insight into the true musical meaning df the items he plays with such amazing dexterity. With all the fullness of maturity characterising his performances, he has delighted his ardent listeners. His thoughtful renderings have fine tonal contrasts and a most accurate sense of rhythm. His programmes include Beethoven’s “Moonlight Sonata,” which he plays with great digital dexterity; Schubert’s Impromptu in B. Plat and Moment Musical, played with a delightfully limpid touch; Bach’s C. Sharp Prelude and Fugue and Presto (from his Italian Concerto); Hummel’s’ Rondo in E. Flat; Mozart’s Fantasia and Sonata in C. Minor, a formal, severe composition in comparison with most of Mozart’s works; Chopin, Liszt, Brahms, Grandos, and the rest. The small lad has such small hands, yet he differentiates brilliantly in tone, and manages distinctive interpretations that one might expect from grown-up pianists. Seldom has a visiting artist been accorded the hon-