The World of Music

Timaru Herald, Volume CXLII, Issue 20610, 26 December 1936, Page 16

The World of Music

Notes and Comments of General Interest

(By

“ Semitone ")

, According to Australian advices, Miss Essie Ackland, the well-known contralto, expects to pay her native country a visit some time next year.

A new musical instrument, in the form of a glass violin, has made its debut. The music critics have not yet passed judgment on its merits. But should it meet with their approval these delicate musical Instruments heretofore fashioned by hand, might come within the price range of almost anyone. The glass must be of a special and expensive formula in order to achieve proper resonance in the finished article.

Mr Frank Hutchens, the New Zealand musician who is now professor at the New South Wales Government Conservatorium of Music, has composed a pianoforte concerto (in E major). A performance of this was broadcast from station 2FC on Sunday night, November 1, receiving most favourable notices from the Australian critics. It is interesting to note, therefore, that arrangements have been made to have this work presented in Auckland in the near future. Such a performance should have the hearty approval of the new director of broadcasting, who has publicly declared himself as being in favour of broadcasting of music by New Zealand composers, given "by New Zealand players.

The following story is told of Spohr, the famous violinist and composer: A young composer asked his opinion on a piece of music he had written. Spohr looked it over carefully and then replied, “Well, really, I find much in

your music that is good and also much that is new.” The young composer beamed with pleasure. . . . “Only,” Spohr continued, “what is good is mostly not new and what is new is mostly not good!” This recalls the answer said to have been given by Rossini to some one who wanted to know what he thought of a funeral march he had written on the death of Meyerbeer. "There is only one thing I regret,” said Rossini after examining it, “and that is that it is not you who died and Meyerbeer who had written the funeral march.’

It is not generally known that the many fine orchestral concerts given in the larger cities of the United States are dependent to a large extent on the financial support of musical enthusiasts. The largest orchestra in the United States, the New York Phiihar-monlc-Symphony, is run at an average loss of 150,000 dollars a season. The Boston and the Philadelphia orchestras, which rank second and third in America, show large deficits, although not as heavy as that of the New York combination. One of the thriving orchestras in American is the Minneapolis Symphony Orchestra, which, under the baton of a comparatively young conductor, Eugene Ormandy is receiving enthusiastic support at every concert.

Professor E. R. Holme recently discussed the musical programme given at the University in commemoration of Armistice Day. Now that Mr G. Faunce Allman has been appointed University organist, says Professor Holme, a special effort is being made to bring the organ into closer relationship with the general ceremonial. The music for this instrument included a choral prelude by Bach, Sir Hubert Parry’s "Martyrdom”; an old English diapason movement; and Schubert’s Litany for the Feast of All Souls. A carillon version of Chopin’s Funeral March played by Mr J. G. Fletcher, who has played it each Armistice Day since the bells were hung. A choral programme by the University Musical Society included the University War Memorial Hymn, sung in its original Latin form.

So popular has the evergreen Gilbert and Sullivan repertoire proved in New Zealand, that Christmas will see a return of the J. C. Williamson Savoy Players, who will open a three-weeks season in Auckland this week, and in addition to the cream of Gilbert and Sullivan’s products, will also present a revival of the old-time favourite “Paul Jones,” and the later and tuneful opera "Lilac Time” which is written round the life of Franz Schubert. “Paul Jones” is a bright, humorous, and musical comedy, with a strong dash of romance, by French composers, and was a record-winning play in the last century. Nellie Stewart and Florence Young both starred in it, and it was a favourite production of Pollard's Lilliputians, but unless done by enthusiastic amateurs it has not been here seen by the present generation. A recent revival in Australia was warmly welcomed. The Savoy Company will again include Ivan Menzies as the principal jester, while the brilliant Australian soprano, Stella Wilson, will make a reappearance in the leading roles as heroine. It's a long and arduous climb from player into leader of an orchestra. Haven’t you often wondered from which band the bandmasters of to-day have come? K. Andrew Gray did, and writing in “The Melody Maker” he relates some rather interesting discoveries. On an average there are 12 players in a combination, and there are some hundred first-class combinations in America,” he says. “That makes a total of 1200 first-class musicians all fighting for the leadership of a band.

For it is every musician’s aim to lead a band. It is a 12-to-l odds against; even more, as some celebrities get together bands and grab the baton in their fist, swing it wildly through the air, and then bow to all the applause, while the real leader, who has slaved behind the scenes to get the number into shape, sits alongside his saxophone player and gets no credit from the public whatsoever. Eventually he will blossom forth, but it will not be without hard work and disappointments. Thus it is all the more credit to the leaders for getting ahead of the other 11 to lead the band. Most of to-day’s famous bandsmen have graduated from the bands of five conductors—Rudy Segar, Meyer Davis, Vincent Lopez, Gene Goldkette, and Jimmy Dorsey. Rudy Segar is called the pioneer of jazz. He was famous in the days when ‘Dinah’ and ‘Alexander’s Ragtime Band’ were the latest hits. From his careful guidance has emerged the King of Jazz, Paul Whiteman, Paul, in his turn, has conducted more famous batoneers than any other conductor. The great maestro is still turning out leaders. In fact, so many, that Paul complains that he cannot hold a band long enough to train it before his players are snatched and batons placed In their hands! Meyer Davis, popular leader for many years, has the same trouble. He seems not only to be a conductor, but a professor; his orchestra not only an orchestra, but a university for dance-band leadership as well. Vincent Lopez is another professor. He has a happy knack of picking the finest of everything, but the finest is hardest to hold. It must be a peculiar feeling watching your pupil climbing over your head. There is pride, happiness, resignation in the feeling. Seldom is there resentment. Still, the bandsmen will always welcome a tip from their masters; Rudy Valee still listens to Vincent Lopez, Leo Richman to Meyer Davis, Bob Crosby to Paul Whiteman, Red Nichols to Jimmy Dorsey. Often I hear it said of the band-leaders: ‘Oh, they were lucky; they get the breaks.’ Usually the speaker is one of those ‘unlucky’ ones who didn’t get the breaks, and, if the truth was known, went to the movies in his spare time. It is not luck that makes a maestro; it is mentality and hard work—mostly hard work.”