The World of Music

Timaru Herald, Volume CXXXX, Issue 20165, 20 July 1935, Page 14

The World of Music

(By “Semitone”).

I Notes and Comments of General Interest

John Bx-ownlee, the Australian operatic baritone who toured the Dominion two or three years ago, sings in the film, “The Private Life of Don Juan.”

In Mr Owen Jensen, IYA has secured a worthy successor to Mr Eric Waters as accompanist. Mr Jensen is also

a composer and some of his compositions will be heard at the concert to be given by the Society of Musicians on Monday night.

The Bohemian Orchestra of Auckland, at present is rehearsing Beethoven’s Symphony No. 7 in A Major, and Grieg’s Concerto in A Minor (Op. 16). for a broadcast from the IYA studio in a few weeks’ time. Paul Vinogradoff will be the pianist in the concerto.

The Royal Choral Union, of Wellington, has resumed rehearsals. Practices have begun on Bach’s “Peasant Cantata,” a work of much lighter texture, in which subtle points of refinement and polish, the most difficult of choral attainments, -rill be pursued. The conductor, Mr Stanley Oliver, has decided to accept 24 more male voices, equally divided among the tenors and basses.

The Auckland Chamber Music Society’s next concert has now been fixed definitely for Wednesday evening August 7. The following works will be played: Quartet No. 8, Mozart; quintet, Opus 81, Anton Dvorak; quartet, Opus 7, Ernst Dohnanyi. The players will be: Haydn Murray, first violin; Carl Whitmore, second violin; Harold Baxter, viola; Lalla Hemus, ’cello; Leo Whittaker, piano.

Miss Reka Paterson, a young Auckland soprano, who has recently returned from Melbourne after two years’ study of voice production, is giving a song recital in the Lewis Eady Hall on the evening of July 23. Her programme will include operatic arias, Schubert lieder, art and modem songs, also duets. Miss Paterson will be assisted by Mr Robert Simmers, the wellknown baritone, and Mr Alan Pow, solo pianist and accompanist.

According to Mr Plunket Greene’s recently published biography, “Charles Villiers Stanford,” Elgar was deeply hurt by the remark made by Stanford, who was an Irish Protestant with a hot temper and a caustic tongue, that Elgar’s oratorious “stank of incense.” In this interesting book Mr Greene completely disproves the accusation of Mr Bernard Shaw and others that Stanford and Parry tried to keep Elgar down. It was Stanford who recommended Elgar for his Cambridge degree in 1900 seconded him for membership of the Athenaeum in 1903, and fought for his inclusion in the Leeds Festival programme in 1904. The biographer considers Stanford “the greatest innovator in English music since Purcell.”

One of the oldest and most virile musical organisations in Wellington is the Wellington Savage Club’s orchestra. While not known to an extent to the general public, It has been a tower of strength to the club, and all along has been remarkable for the enthusiasm of its members. The orchestra was formed 30 years ago, and held its first rehearsal in Martin’s Buildings, opposite the Y.M.C.A. in Upper Willis Street. Its first conductor was Herr Max Hoppe, a violinist. He was succeeded by Mr Alfred Hill (now of Sydney). Mr Herd was in charge for a time; then came Mr Dave Kenny (who died in England during the war). During his absence, the orchestra was kept going by the late Mr Harry McComish, and since 1916, it has flourished under Mr Frank Thomas. Three of the original members are still playing, viz., Messrs Walter Best, Frank Grady and Frank Wolfgang. All members are amateurs. Originally of a numerical strength of 25, it grew to 45 after the war, and that strength has been maintained ever since. During a season of 12 koreros, from 50 to 60 pieces are played.

A new Richard Strauss opera was recently produced at Dresden. It was composed on a libretto by Stefan Zweig, after Ben Jonson, and was called “Die Schweigsame Frau.”

The following interesting extract is from a book, “The Price of Pleasure," by Mr Charles Graves: “Experts will tell you that the worst thing for the theatre is snow, after that comes fog and intense heat like that of last summer . . . The ideal weather from the box-office point of view is a dull day. Cold weather and rain are bad.” Secretaries of musical societies would be well advised, therefore, when arranging dates for the season, to select a dull, dry day for their concerts and also, in the light of recent experience, avoid the month of June.

The editorial in the June number of “Music in New Zealand” takes the form of a sermon on the evils of enviousness, a failing that, unfortunately, is not unknown in the musical profession. H. H. Tombs writes of his musical experiences in “Naziland”; Sophie Hall concludes her series of articles entitled “What is Music?”; the editor, T. Vernon Griffiths, in an article, “Academic Dress,” urges the wearing of academic costumes on ceremonial occasions by those entitled so to do; reviews of concerts in the south, and of new music take up the rest of the issue.

The first meeting for the 1935-36 season of the British Music Society, of Dunedin was held recently. The Misses Bucklin and Mr Frederick Page played the following programme:— Beethoven’s “Trio in D,” Opus 70, No. 1, with three movements, “Allegro vivace,” “Largo assai ed expressivo,” and “Presto,” cello and piano sonata by Eccles, “Country Music” by Armstrong Gibbs, which is made up of “Seista,” “The Open Road” and “An Old Song,” Bela Bartok's “Six Rumanian Dances” for piano, sonata for violin and piano. No. 2, by Delius, and Novak’s “Trio in One Movement”— “Quasi una ballata.”

The New Zealand Broadcasting Board is to be commended for its en- | terprise in engaging outside artists to 1 broadcast from the national stations. At the same time it is not always to be complimented upon its choice. We have heard alleged comedians whose efforts wouldn’t raise a laugh at the convivial meetings of our social clubs on Saturday nights—not even after the supper adjournment; we have heard sopranos who wobbled and scooped; and tenors whose repertoire appeared to be limited to popular “song hits.” On the other hand, however, the board has been quite fortunate in its choice of baritones. Raymond Beatty was very satisfying, so was Alexander Browne; while the latest, Clement Q. Williams, is one of the best we have heard so far, both as regards artistry and choice of song.

Americans are fond of doing things in a big way. Recently Tulsa yniversity, in Oklahoma, U.S.A., gave a large audience the unique experience of hearing 100 pianos played together by 200 players. The students were rehearsed for seven months for the performance of Tschaikowsky’s popular “1812 Overture” and “Slav March” and Strauss’ “Blue Danube,” played by 2000 fingers in unison. To be precise, two mammoth pianos led and the others were brought in like the parts of an orchestra by the conductor. An American commentator remarks that the big show demonstrates a new idea. “Piano practice isn’t really a lonesome job, Johnnie. Go to your practice now. and some day mother will get 199 other bright pupils to come over and play with you.”

“It may surprise many people to learn,” said Sir Thomas Beecham. in a speech at the jubilee dinner of the British Women’s Symphony Orchestra, “that I am not opposed to women’s orchestras, but that I am in favour of them, I look forward to the day when there will be more than one women’s orchestra, and when women will be withdrawn from masculine orchestras. Why on earth do women want to play in men’s orchestras? They play very much better than men, and they produce a horrible resentment in the hearts of men, and that does not tend to peace in the world. At rehearsals men’s orchestras like to talk, smoke, shuffle their feet and have long intervals for refreshment. From all these weaknesses women are free. (Cheers.) There should be an orchestra in every town in this country, and the reason there is not is that the men have been too lazy to found them. There is a chance for the women. If I were to set about forming a women’s orchestra.” confessed Sir Thomas. “I should try to get the most beautiful women of the country into it. There is no inherent reason why a beautiful woman should be able to blow an Instrument less well than a woman who is not beautiful. If we are to make a success of women in orchestras they must be in orchestras exclusively formed of women, and they must be conducted by women.”

Baroness Ravensdale, who is vicepresident of the orchestra, did not accept Sir Thomas’s ideas of a women's orchestra. She objected to the principle of segregation. “I think women--members of the orchestra ought to try, to get into other orchestras. Nor do I agree that they should always be conducted by men. I want to see them conducted by well-known conductors;: This orchestra is a stepping stone to’ other opportunities, whatever Sir Tho-j mas may think. He apparently dislikes feminine skirts and petticoats!' around him in an orchestra.” Sir Thomas (plaintively): I didn’t say so;'

“If a woman can play the oboe as; well as a man she has every right to play it and to be selected for one of the, big orchestras, with no sex prejudice; entering into it,” added Lady Ravens-* dale to cheers.