ABOUT MUSIC.

Star (Christchurch), Issue 11000, 12 February 1914, Page 5

ABOUT MUSIC.

CONDUCTOR AS A CRITIC

SITUATION IN THE SOUTH.

MUNICIPAL ENTERPRISE REQUIRED.

One of the features of the New Comic Opera Company nt present in the dominion is a fine orchestra under the baton of Herr G. Slapoffski, and as the band includes in the main New Zealand instrumentalists a "Star" reporter approached the conductor this morning to obtain his views on music in the dominion. That it is possible to collect a highly efficient orchestra in New Zealand had been amply proved by the impression made by Herr Slapoffeki and his players and the conductor to-day stated that with the assistance of a few players having forehand knowledge of the music to bo played the orchestra could, bo duplicated by a'good director. ; THE PUBLIC TASTE. "I am absolutely convinced," eai3 the musical director, " that the public of Australasia is fond of good, musics, but it Jacks discrimination. There is", of course, good music which is not at-, tractive to tho public, but works of equal classic standing are enjoyable for. thorn, and while programmes are arranged with attractive music the people will-flock to hear them. That is the test of public appreciation—the numbers that attend. .1 know that some people declare that Wagner gets large audiences because it is fasionable, but people don't sit in dark theatres for four hours and keep on doing it for twenty years because of fashion. Fashions always change and royalties amounting to- £50,000 a year are notdrawn from Wagner's operas because of. any fashion. The man who says that he would sooner hear " Kathleen Mavourneen" than " Tannhanser " says that because he has heard the opera;. He may have listened to the music casually once or twice, but it is impossible to hear a work like that at the first or the second time. I have proved it. Friends of mine have, been converted to Wagner simply by being made familiar with tho music. Somebody, wrote to the newspapers saying that the Royal Artillery Band was playing over the heads of the people, because classical music predominated in the programmes, but that is all rot. A PREY TO'HUMBUGS.

" Like all communities, and especially those situated a long way from the art centres, Australasia Has been preyeel on by humbugs and iniposters. The English people are susceptible to it. So much depends on personalities. When considering a musician it is not his abilities as a musician .that are thought of, but ib is whether he wears a nice tie- or is a good husband. They deal in personalities to such au extent. -It is the same in other walks of, life, and. it means that cbariaians can gef iii and establish themselves. The position in Australia is improving, but, ofcourse, I don't know so much about New Zealand. One of the things that will do more to stop this and really help music is the introduction of really accredited musicians. In this direction municipal enterprise can do a lot. With, the imposter who is said to be teaching music the shortcomings are matters between the pupils and ' the teachert,> but get a municipally supported conservatoire and the light of publicity is' directed on to it at once, which coxa-, bats the charlatan immediately.

OPEN AIR LIFE AND ART. " The situation of life in Australia is peculiar in its effect on art. Life is so much out of doors. There aw amusements and sports at hand everywhere. When a girl wants to learn singing because her friend is learning, her parents know that the effort will only* be desultory. After a Week's work sire will want to pla,y croquet or go so that the father looking to financV tries to get this hobby cheaply. This assists the humbug to live. Art, toq, is so largely a matter of associations and memories that the outdoor life js a weighty opponent. You. get all the dreams knocked out of you if you go' surfing. From • a utilitarian point of view the dreamy people are not good to a State, but when we have got good government and good public utilities, as these colonies Tiave, there is every reason why attention . should be paid to art. But, as I say, the personality question steps in'. Look at this country. It lias in Mr Alfred Hill a magnificent musician, .but it lets him go elsewhere and does not support him at all. Like many good musicians, Mr Hill is; not. a business man, and his personality is not strong enough, buV he is a thorough musician, thoroughly. equipped, and if a community -wants to foster art why doesn't it, say, establish a. conservatoire with a man like Mr Hill, the dominion's own child, at the head of the musio side of it. ..But no, he is practically driven out of New ■ Zealand. •' ORCHESTRA AND BAND.

" Probably the best meana of reaching the people with good music is the military band. Nowadays all the groat music can be obtained, scored by competent musicians, for military bands, which are easier to organise thai orchestras of equal oalibre. In addition the band Is more attractir© to the public. The general rank of the- public m Australasia go to orchestral concerts in a serious mood, expecting to .hear something very serious. But the mention of- a band playing is a different thing. The pomp and panoply' of the band creates a favourable impression through the eye, and the task of the musician is made easier. The band is nearer, to the public. For this reason, in communities of the size of Christchurch, the municipal military band is highly desirable.- The best way for a city to cultivate a taste for good music is to organise a high-class military band, support it and place at the head of it a first-class man. Get the proper man at tho head of the band and ita success is assured." MEMORIES IN CHRISTCHURCH, Reference to Christchurch recalled Herr Slapoffski the fact that here Mr F. M.Wallace had played an important part' in musical affaire. "He was a magnificent musician," he said, " and his death was a loss to this country that has not been repaired. He was a man I knew intimately, and whenever I come to Cliristohurcb. the city has sad memories for me. I played at the same desk with Mr Wallace in the old country. We were together at the first Birmingham festival, at which- Hans Richter conducted, and wo were associated in other Richter concerts." ■