JOTTINGS BY “C SHARP”

Wanganui Chronicle, Volume LXXXI, Issue 19049, 28 June 1924, Page 3

JOTTINGS BY “C SHARP”

I hear that Miss Dorothy Davies writes most enthusiastically regarding her impression of the New South Wales Conscrvatorium. Miss Davies finds the general musical atmosphere and the rivalry of the students most stimulating to musical study, whilst many fine artists who are developing there arc a treat to hear, The Wanganui pianist is looking forward to a period of keen and interesting work under Mr. Frank Hutchens as piano master, whilst .-•■he also takes up other musical studies} under other masters, including harinchy under Mr. Alfred Hill.

We have, been for many years familiar with two-manual organs, but now we are to have two-manual, or double-keyboard-pianos. A recent issue of a London illustrated paper contains a picture of such an instrument, the invention of Mr. Emanuel Moore, being played at Westminster Central Hall by Mr. Arthnr Meale, the .well-known organist. It is claimed that many valuable and striking effects can 'be obtained from such an instrument. For my own part I find the single-key-board more than I can manage. Pedri attachments for the piano, to keep organists fit with their feet when away from their proper instruments, are, of course, .no longer a novelty.

The hardships of a former operatic star were revealed at a London police court recently, when Dorothy Ashby, described as a professional singer, was bound over for begging. It was stated in evidence that this singer, who sang before King Edward at Windsor, used to earn £5O a week at Covent Garden. Financial losses attributable to the war were said to be responsible for the singer’s present sad position.

From a programme to hand I learn that those two fine artists, Mr. Leon De Msyiny and Madame Evelyn De Mauny are to give a recital in the Wellington Concert Chamber on Wednesday, July 2. The programme will include a first performance in New Zealand of Cesar Cui’s sonata for violin and piano, the Mendelssohn concerto, and Kreisler’s “Tambour in Chinois.” The pianoforte solo includes Smetana’s concert etude “By the Sea,” MacDowell’s “The Joy of Autumn” (from the New English Idylls) and Etude cn Forme de Valse by Saint-Saens. Madame De Mauny will also .sing a group of Ohl English songs and a group of modern French songs. ♦ * • Peter Dawson, the Yvell-known Australian baritone who is described as a “best-seller” among the gramophone records, confessed to an interviewer that, privately, he is devoted to a different class of song from the ballads ir. which he has become so popular. “ I want to become an exponent of Liedcr for Art’s sake,” he said, and announced a programme consisting mainly of German Lieder for his concert on May 2.

The reference in this column last week tj the state of musical affairs at Home is confirmed by the following extract from an article written by Ernest Newman—one of the leading English critics in the Manchester Guardian. There is good reason, if only a commercial one, why the unknown performer should spend money on a recital in London. It is advertisement pure and simple. But why first-rate performers who are in no need of advertisement should give, in these days concerts over which they must either lose or make next to nothing is a mystery. People in London ■will not pay just now for anything but the exceptional things—something that may really be better than the other things of its kind, or that may have only a sensation to boost it. It is a great pity, because if this sort of thing goes on it will deprive deadheads like myself of the opportunity to hear some of the great artists. If the big stupid public does not go on paying, the noble army of non-payer (needless to say, the most artistic section of the audience) will be musically starved.

One of the three or four greatest of present-day pianists, after a couple of distressing experiences at Queen’s Hall this winter, went back to America swearing he w r ould never set foot in England again. If this should meet his eye, I beg to assure him that there was no lack of appreciation of him among those who never pay for their seats at any concert if they can help it.

Why are prima donnas and operatic tenors usually “plump”— to put it mildly ; Judson House, an American tenor, gives some clue to the reason, in the Musical Courier. He says: Singing is, I suppose, about the only healthy job which requires a strong physique and does not furnish the worker with the proper amount of exercise, to keep fit for his work. That is why I believe that exercise is of vital importance to a singer. It seems to me that successful singing depends not a bit more on the condition of one’s throat arid lungs that it does on one’s entire physical condition. One thing lam glad to see is that the idea that a singer, must coddle . himself to avoid colds is fast disappearing. Medical progress which has informed us that colds do not originate in the throat is, I suppose, to be credited with this. Sleep enough, use your muscles, and be careful what you eat. Then I don't think you will have to worry about catching cold. When I am on tour and get to feeling run dow r n Igo to a gymnasium, take a hot bath and a rub down, then do a mile or two ou

the track and. turn in for a good sound siecj. How a singer can expect to stay up a?i hour.-; of the night, cat breakfast iu bed, and never take any exercise, yet still expect to sing well is someth.ng beyond my comprehension.”

I understand that for the forthcoming appearance of the Orchestral Concert, Miss Myra Sawyer has chosen Weber’s “Softly Sighing” from the opera “Dor Frcischutz” and the “Laughing Song” from Aubcr’s “Manon Loscant.” Miss Sawyer scored a great success at the Anzac Day concert in rhe Wellington Town Hall a few weeks ago.

Australian advices report great ar tisl.c and financial success as having attended the “recitals for two pianos” given in Sydney by Frank Hutchens ami his most brilliant pupil, Lindley Evans.

In recording a successful season of Gorman opera at Covent Garden, the Daily Mirror says: “The sucess, one is glad to say, is in no small measure due to the magnificent playing of the orchestra, which consists of 106 British players. The cast is cosmopolitan. Schorr, the Wotan, is a Dutchman, Gota Ljungberg, the Sieglindc, is Swedish, that there are English girls also in the cast.” The paper further mentions that Madame D’Alvarez is to appear during the season at Co vent Garden.

Miss Constance Herbert, late of Te Aroha, but formerly of Taranaki, following a period of successful study at the New South Wales Consevatorium has accepted an appointment on the staff of a girl’s college “over there.”

In an article on “Musical Misinformation” in the May issue of the “Etude,” Blanche Stannard w’rites .is follows: The versatility of newspaper reporters is common knowledge; but sometimes their report on musical affairs contain ludicrous statements. In “The Foolish Lovers,” the chief character is sent on his frist assignment to report a concert. “But,” he objects. “I have no oar for music!” “Well, that doen’t matter,” in the reply. “Get a programme, mark on it the songs and pieces that get the most applause. Those are the best things. See? Anyone can criticise music when he knows a tip or two like that. Tf the singer is a celebrated person like Melba or Tetrazzini, you say she was in her usual brilliant form. . .” Later in the story a friend tries to induce the hero to write his criticism in a tea-room without even attending the concert! Doubtless many reports in American newspapers containing musical references are written in tearooms, or the equivalent and by writers who know more about batting averag *3 than about “semiquavers.” Certainly the one who reported that the local movie orchestra “gave a pleasing rendering of ‘Oliver Tell’ overture” knew less about overtures than he did about the screen. Have you heard these two song “hits” “Chili-Bom-Bom” and “So I took the Fifty Thousand Dollars”? These are well worth trying over. Obtainable from “Gilberts” Music Stores, The Avenue.