The World of Music

Timaru Herald, Volume CXLII, Issue 20587, 28 November 1936, Page 14 (Supplement)

The World of Music

Notes and Comments of General Interest

(By

“Semitone")

The well-known Russian tenor, Seiiia Chostiakoff, will be heard in Auckland shortly, when he will appear at the Majestic Theatre for a week, commencing December 4. On the sr.mc programmes two Australian comedians, Vincent Ryan and Len Smith, will contribute items.

The soloists chosen for the quartette work in Mozart’s “Twelth Mass,” to be given by the Auckland Dorian Choir on December 3 are Patricia McLeod, Beryl Smith, Henry Donaldson and J. B. Ramsay. Elgar’s ‘‘The Black Knight” and two choruses from Handel’s “Messiah,” the “Hallelujah” and the “Amen.” will also be included in the programme.

Coming events in London are throwing their shadows as far as musical features which are to eventuate in the coronation year. Even as early as five or six weeks ago the London “Daily Telegraph's” advertisement pages were telling the world of the pageant of music being prepared for February, March, April, and May next in the great metropolis. Seven months before the coronation this paper announces by advertisement that on Sunday afternoon, April 11, Kriesler will play at the Albert. Prices will range from 2/6 to 21/-. It may be taken for granted that ere this most of Albert Hall has been booked out. Grace Moore, picture actress and soprano, is

to give a recital in the same immense hall on May 2, and Piatigorsky is to appear in one recital only in the Queen’s Hall on March 15. What is interesting to elderly people is that Katherine Goodson is to make a reappearance in pianoforte concerto under Sir Thomas Beecham in January. This pianist, considered one of the most formidable contemporaries of the late Terese Carreno 30 years ago, has visited New Zealand, but did not play here, although a request was made to her to do so. She was visiting the country on holiday with her husband, who was an examiner for the Royal Academy. In March Felix Weingartner, the Viennese conductor, is to conduct Beethoven and Brahms symphonies with the London Philharmonic Orchestra. On the Beethoven night Weingartner is to receive the gold medal of the society. About 'midFebruary, under the sponsorship of the London Philharmonic the Huddersfield Choral Society is to give a performance of William Walton’s cantata, “Belshazzar’s Feast,” under Dr Malcolm Sargent. Alexander Brailowsky is to appear on April 20, and March will see the reappearance in London of Jascha Heifetz.

Commenting upon the standard of the programmes presented by popular singers, both on the concert platform and over the air, Mr Richard Crooks explained to this writer how they could not always please themselves in the matter. It was more or less a question of demand and supply. To Illustrate his remarks, he related a recent experience of his in U.S.A. A journalist asked him in an interview why he did not sing more songs of a classical character in his broadcast programmes. Mr Crooks’ reply was that the manufacturers who sponsored these programmes received a great number of letters asking for the latest song hits, etc., and, naturally, they wanted to please popular taste, as evidenced by these letters, as much as possible. Mr Crooks then went on to point out to his interviewer a fact well known at radio stations in this Dominion. The people who like the best in music seldom if ever write in to ask for it, while those whose tastes incline the other way are the most active in making known their likes and dislikes. "Now, for example,” he said to the journalist, “have you yourself ever written a ‘fan’ letter to a radio station or artist asking for what you want?” "No,” was the reply. "Well, there you are,” he exclaimed, "if you and your musical friends all took the trouble to write in as others do, it would give both the sponsors and the artist backing to raise the standards of the programmes.” There was a sequel to this. Next day Mr Crooks was extremely annoyed to see this interview In the paper with a heading, stretching across the front page, “Richard Crooks Says Only Saps and Nitwits Write Radio Fan Letters.” Naturally, he complained to the offending newspaper about this distorted summary of his views, which, he complained, would certainly offend his public. There is a moral in this story for those who complain bitterly about the “rubbish” being broadcast from radio stations.

When Dr Malcolm Sargent conducted in Wellington two months ago, he introduced some new ideas regarding concert etiquette amongst performers. One of these was that the leader of the orchestra should enter alone after the orchestra was seated, the soloists coming on next, and, finally, the conductor. It might also be mentioned that Dr Sargent does not approve of instrumentalists lolling back in their seats with crossed legs; he prefers to see them sitting upright and intent upon their music.

No slip, says a writer, speaking of one of the day’s big conductors, is ever allowed to pass at a Koussevitsky rehearsal. Nothing less than the utmost concentration is required the whole time, and Koussevitsky’s grip never relaxes. Intonation throughout the orchestra and matters of ensemble are worked at ceaselessly until they are correct. And * then,. sometimes, through sheer nerves, they go wrong again and have to be tackled at subsequent rehearsal. Koussevitsky’s attitude is essentially that of the great executant who refuses to approach the platform until his technique is flawless. Incessantly' he strives after the most perfect playing, and he conveys the feeling that if only he can succeed in making the players reproduce perfectly his own idea the interpre-

tation will be supremely right. His stick is a fine instrument of artistry. His beat is straightforward, and he must be one of the few famous conductors who are in the habit of giving one or two unobtrusive introductory beats for difficult openings, like that of the scherzo of the “Eroica.” It certainly ensures confidence in setting a new tempo. His magnetism is largely conveyed by his face, which is extraordinarily expressive, lighting up instantly at any playing that touches him—and this is not infrequent—and again clouding as quickly. Giving out streams of energy, he demands every ounce of the orchestra, and it may be suspected that some of the performances at his rehearsals are finer than those of the concert itself Certainly few, if any, peaks are attained at the

concert that have not been scaled at the rehearsal. The concert itself is less of a strain, for the conductor changes from being an insatiable refiner to the role of irresistible leader. A slip or even a bad mistake never seems to upset him at the concert. With all his experience—as soloist as well as of conducting—he yet does not conduct from memory. He may but glance at the score, but it is always there on the stand.