FOR MUSIC.

Star (Christchurch), Issue 11215, 22 October 1914, Page 3

FOR MUSIC.

POSITION IN GHRISTCHURCH. PUBLIC SUPPORT NEEDED URGENTLY. ■MR W. H. THORLIEY'S VIEWS. Having como to New Zealand from tho centre of British art, and from the heart of the Empire's music, Mr Walter Handel Thorley has had sufficient experience of the musicians in Christchurch to have formed' definite opinions about their ability and their potentialities. Mr Thorley has conducted the greatest orchestras in London, and prior to his arrival in the Dominion last year conducted a concert by the Sydney Symphony Orchestra. *lt was' for the purpose of i.btaining Mr Thorle.v's views on mus:c in Cliristchurch that a " Lyttelton Times" reporter saw him and talked over the whole subject. MUCH LOCAL TALENT.

" Let me sav at the outset," said Mr Thorley, "that I have been astonished at the amount of talent you hare in Christ-church, both in instrumental and vocal music. Take the Christchurch Orchestral. Society in tho first place. It is capable of almost anything. At our last conceit we did a portion of the Tscbaikowsky fifth Symphony. It is a difficult, and au exacting work, but the orchestra's performance was remarkable. Nowhere in Australia or New Zealand will such a line string section be found. The mere fact that out of the first violins we have already been able to take three soloists speaks for itself and f-hows what possibilities there are. Christchurch has four French horns, an equipment probably unknown elsewhere south of the line. Such numerical strength is often sought, but rarely obtained anywhere . in the world. Returning to the strings, the 'cellos are remarkably strong and reliable for orchestral work, and the basses are better than could be found in Svdnev. Tho woodwind is superior 'to anything in amateur orchestras in Australasia. The brass section is good, and it will improve considerably. You see, when, we split the orchestra into its component parts and consider them in detail we begin to discover what an extraordinarilv fine orchestra we have. And remember that this orchestra, does not practice one-fifth of the time it should. Wo spend "'two hours a week in rehearsal,' but that time is out down through various delays to an hour and a half. Now, a proressioiial orchestra will rehearse for three hours without cessation, and it wall rehearse more frequently. When these points are considered, the achievements ct thfc> Christchurch Orchestra are remarkable.

CONCERTS MORE FREQUENTLY '"What do we want? Tho essential thing is public support. Not that the standard of music, can b<v judged ly mere applause, but- because the orchestra needs financial; -help. lo get the support of the'public and at the same time improve the playing wo want to give more concerts. .At present the orchestra apepars about four times a vear, and between tho concerns it is entirely forgotten by the. public In- addition, our own players do not Kain that morale winch is obtained by orchestras as a result of frequent performances in public.. No number of rehearsals can ever have the elitct or one performance in public. Ot course, an amateur orchestra is always susceptible to unexpected weaknesses. A professional musician will .perform -it night just as he performed in the afternoon, but the amateur, faced with the audience, may go amiss. This confidence can bo gained only by frequent appearances in public. It concerts were goven more frequently a taste 'for music would soon be encouraged. The regularity ot the organ recitals on Sunday has done a great deal towards making .the-city aware ot their beauty. The same thing is required for the orchestra, and, mind you, we can, without any difficulty draw soloists from our own ranks. I hope before lone to be able to include a French horn solo in one programme, and there will be other surprises tor Christchurch, surprises which would not Impossible in Sydney. Christchurch has ah orchestra of magnificent possibilities, and it should recognise the fact. After a period of solid training with the Christchurch Orchestra, .1 'would not fear to go auywhere. wita it." TEACHERS DO NOT SUPPORT MUSICAL SOCIETY.

Turning to the Christchurch Musical Society, Mr Thorley said that unfortunately it had suffered materially through the competition of other bodies as well as through a lack-of sympathy among singers generally. The chorus at present was a good nucleus, the male voices particularly requiring strengthening. There were many good voices in Christchurch which should be in the Musical Society, which, after all, was the parent body, and the senior organisation jor choral music m Christchurch. _ It had a fine* record, but many voices seemed to be drawn away to smaller societies. _ "Instead of these other societies being feeders

to tho larger organisation, they are I find, too, that teachers of singing do not support the Society as they should. One young lady agreed to join the Society at my request, but afterwards declined because hor teacher had refused to allow her to do so. What can hurt tjhem? No conductor would over ask his chorus to shout, and ho would not want to strain tho voices placed 'under his care. What do tbo teachers fear P These young ladies later mp,7 ho pleased to act as soloists, hut why don't they assist the Society in tho chorus, where they can increase their knowledge of music. This is one of the greatest disappointments in. Cliristchui'ch—to know that the voices are hero and to he unable to use them. These are tho two chief reasons for the weakness of the choir. What- wo have is capable and reliable. , A LITTLE CRITICISM. "With tho Musical Society, too,' more could bo done if concerts weroij given moro frequently, and if wo di'ew our soloists from tho chorus wherever wo could. We have some fine voices in Christchurch. _ There is. perhaps, a weakness in interpretive powers. They are not exercised sufficiently. Move study should bo given to the atmosphere of the songs, but I have noticed improvements in several directions. The material is here; it wants opportunity. Concerts given more frequently would do it. SUNDAY AFTERNOON RECITALS.

Co-operation among musicians generally and support from the city are needed urgently. I am sorry the Mayor is not more closely identified with the active work of the two societies. It is always so in Britain, where the orchestral and musical societies are looked on as valuable civic assets. This brings mo to a point in which, I think, the municipality could help. _ If the musical societies w&ve permitted to give concerts on Sunday afternoons in one of the local theatres and to make a small charge for admission, music would become more popular at once. The organisations, which exist for- no personal gain, would _ be materially strengthened, and Christchurch would obtain for nil its _ citizens probably the finest music given outside the great art centres. If ive had more co-operation in mnsic, % f a-nd a townhall of sufficient dimensions, we might be able to attempt something in the nature of a festival. There are great achievements in the Old Land, and their effects are always beneficial. If all the societies would unite and work in harmony we could easily give a. successful festival; but, as I said before, that spirit of co-operation seems to be lacking."