Music and Musicians.

New Zealand Graphic, Volume XXVI, Issue XVII, 27 April 1901, Page 773

Music and Musicians.

Questions and Answers. Question: “Candidate.” Can you inform me where 1 can obtain particulars respecting the different examining bodias who grant diplomas and certificates, and how one is to know which are recognised as legitimate institutions or otherwise. Answer: The information you ask for is mostly contained in a book entitled “Musical Examinations,” published by the “Musical News” office, London. This work contains some particulars respecting a number of proprietary musical colleges, their shareholders, working, issue of diplomas, robes, etc. Amongst the recognised British Institutions for granting diplomas are the following: Oxford, Cambridge. Dublin, Edinburgh, and London Universities, The Royal Academy of Music, The Royal College of Music, The Royal College of Organists, The Incorporated Society of Musicians, Trinity College. The latter until recently was a limited liability company. The Guildhall School of Music, established in 1880, by the Corporation of the City of Ix>ndon. only grants one diploma in connection with that school, i.e., for Associateship. Question: “G.D.” When a piano has one or two extra pedate can you tell me what is their use? Answer; The right hand side pedal from the way the player is sitting is the usual damper pedal, often erroneously designated the “loud” pedal. It is called the damper pedal because the rod which is connected with the pedal causes the dampers to be moved back from the strings upon which they press, thus permitting the sound of the notes struck to be prolonged. The left pedal is the soft pedal which acts ip different ways according to the design of the maker. The third pedal is occasionally introduced into the piano to sustain individual tones. Some makers (mostly American) introduce another pedal which is connected with an attachment made to produce tones in imitation of the mandolin, banjo and other similar instruments. Another pedal is greatly used as an extra soft pedal, which is known by the American makers ns the “muffler.” It enables the practice to be done with a minimum of sound, and has .but- a trifling effect on the touch. The Art of Accompanying. : The lot of the accompanist is not a happy one. ' He is called on at a moment’s notice to read a difficult accompaniment at sight, very often also obliged to transpose it at sight. He must “follow” the soloist, playing loudly or softly, fast or slowly, as the caprice of the singer requires. He gets little or no credit for doing it perfectly, and he receives black looks and “curses not loud, but deep” for the most trifling slip. Those who have not tried it do not know what it means to transpose the simplest piece of music. Still less have they uny idea of the immense experience anil Jong training it takes to be able to t.ranspose a complicated accompaniment even at leisure, to say nothing of the> coolness and alertness required to follow the soloist, and to do this difficult work on the concert platform. Tn the majority of cases the accompanist who can do this is txm times the musician that the singer is who is being accompanied. But who •in the audience knows that the accompanist is transposing at sight, or that he has not had the piece for a week beforehand?

Singers, as a rule, prefer an accompanist who “follows” them well, to tone who plays with good tone and clear phrasing, but who does not keep well with the soloist. Most accompanists are content to ■follow the singer, neglecting the phrasing, ignoring the quality of their tone, and using the pedal in * hhnrfringly bad manner. Then again, there are the pianists who play accompaniments. They think of the tone they produce, they intelligently •brase, and u«e the pedal where it in

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PEDAGOGUE.

required, but unfortunately they do not keep with the singer. There are others who do not give the singer enough support in loud passages, and Others who play too loud when the singer sings softly. The ideal accompanist who is alert to all the caprices of the soloist. who plays the accompaniments in an intelligent manner as regards the phrasing and pedalling, and who gives the singer the required support and uo more, is verydifficult to find. It is unwise for a singer to play his own accompaniment, as in almost every case he will play it badly; too much of his attention is taken up with his voice and the effects he tries to produce. In nearly every case he plays too loudly, because he cannot distinctly hear the instrument when his own voice is ringing in his ears; ami if he does not commit this error, he invariably pedals so badly that the ears of every musician in the audience are offended.

Singers, as a rule, are satisfied with their own accompanying for the reason that, the instrument and the voice keep well together. But we cannot insist too strongly on the point that musicians are better pleased with an accompaniment intelligently played even if the voice and instrument do not keep unerringly together, than with a perfect ensemble when the piano part is dry in tone, or blurred, or badly phrased—consequently, singers cannot be too careful in selecting a good accompanist, for they should remember that the voice cannot do it all.

Many a medium-grade singer with an exceptionally good accompanist will succeed where a much better vocalist with a poor accompanist will fail. The annoying part of all this is that the medium-grade singer gets all the credit, and the bad accompanist does not get all the blame. A song well sung but badly accompanied is no more a work of art on the whole than is a song badly sung though well accompanied. For a work of art must be finished in every detail. Musical “Colleges.” The following particulars illustrate the standing of some of the numerous proprietary colleges of music instituted for the avowed purpose of granting diplomas, degrees, etc. These institutions the British and Colonial public are induced to support by attractive advertisements, many of which appear in the musical journals, thus indirectly throwing round such institutions a halo of respectability. So long as these concerns are licensed by the Board of Trade for the purpose of granting diplomas, certificates, and so on, there is every chance they are likely to increase. THE NATIONAL COLLEGE OF MUSIC. This diploma issuing scheme is registered as an ordinary trading company, as the National College of Musitf Corporation, Ltd. Its capital is put. down at £5OO, of which £250 is taken out in £1 shares as follows: — A. F. Tindall 251 J. E. V. Bostock 1 Mary Tindall 1 W. 1. Moss 1 A. A. Powley 1 T. E. Wright 1 The following paragraph is taken from the “Musical News” of March 18th, 1899: —

“Among the Articles of Association is one to the effect that every shareholder has one vote for every share held by him. As Mr Tindall puts himself down for 231. the others only possessing 5 between them, they can hardly have a look in, or upset the government. The business to be carried on is “music,” music is to be sold and the usual trade carried on, together with that of examining such candidates as choose to present themselves for that purpose, aud, of course, issuing certificates and Diplomas of Associate, IJreutiate, and Fellowship as usual.”

THE NATIONAL CONSERVATOIRE OF MUSIC (?), LTD. The following particulars are obtained from the Registrar of Joint Stock Companies: Registered office, 3 Hardman-street, Liverpool. Nominal capital, £l,OOO, of a 1,000 shares of £1 each. Registered the 14th of August, 1900. Bessie Phipps, secretary pro tein. Number of shares taken up according to the return dated Sth of October, 900. Lillie Natalie Phipps (teacher), 3 shares. Mary Annie C'hreinian (professor), 30 shares. Robert Roberts-Stitt (physician), t share. Aiinee Blanche Phipps (teacher). S shares. Herbert Gordon Phipps (professor), 5 shares. Edith Joucs (teacher), 1 share. Bessie Phipps (professor), 251 shares. Matthew Greer (manager), 5 shares. Clifford Stewart Phipps (manager), 2 shares. William Henry Ballard (clerk), 1 share. Henry Jones (shipping clerk), 1 share. Alex. Phipps, secretary. Call on 57 shares, £l. Total amount of money received, including payments on application and allotment, £24. Agreed to be considered as paid on 250 shares, £ 250. Total amount of calls unpaid, £33. o o o o o Humoresque. A famous pianist, almost as celebrated for length of his hair us for his music, lately purchased a penny paper from a newsboy whose face was dirty even beyond the ordinary dirtiness of newsboys. The pianist paid for it with a threepenny bit. and, of course, the boy had no change. “Never mind,” said the musician, “go and spend it on getting your face washed.” Without a moment’s hesitation the boy plunged his hand in his pocket, pulled out the threepenny bit, and shoved it into his customer’s hand. “ 'Ere, guv’nor,” he said, “you keep the fruppence aud git yer ’air cut!” THE LADY AND THE COACH. Air Fleming, in his “Fiddle Fancier,” tells the following amusing story: —• In England in the old days of stage coaches, one of those huge, lumbering vehicles was ploughing its way one night, in a driving rainstorm, filled inside and outside with passengers. Among the number of fortunate insiders was a bald-headed re ispected old gentleman, who seemed to be very solicitous about, a lady riding on the roof. Every few minutes he popped out bis head, regardless of the rain, and shouted to someone above, “Well, how is she now?” And the answer came “All right.” "Is she getting wet?” inquired the old man. “No, not much,” w;«s the reply. “Well, can’t you put something round her? 'Twill never do to let her get wet, you know.” “We've got everything round her we can get.” “Haven’t you got an old coat or a rug?” asked the noxious old gentleman. “No, not a rag more was the disheartening reply. A sympathetic young man, hearing this, and feeling alarmed for the poor lady out in the storm, inquired of the gentleman why -they did not let her ride inside instead at out ou the roof.

“Why, bless you, there ain’t room,” exclaimed the old man.

“Not room!” cried the young tnau indignantly—“why. I'll give her my place. It’s too bod.” “Not at all, dir, M the young man hasty rejoinder. “We couldn’t get her into the coach, anyhow."

Amazed at the lady’s prodigious dimensions, the kind young man said: "Well, sir, if my coat would be of any service, she may have it.” And suiting the action to the word, he took off his coat and bunded it to the old gentleman.

“It’s almost a pity to get your overcoat wet, but ”

“Not at all. sir,' the young roan hastened to say. “Pass it up to her.”

Thun relieved, no further anxiety was manifested concerning the outside pansenger till the coach arrived at. the inn, when, to the unbounded indignation of the sympathetic young n>:u>. it was found that his coat had been wrapped around - not a fair lady of unusual proportions, but a fiddle, u double bass. o o o o o Writing from Loudon, under dale of March 10th, a lady who has greatly interested herself in Celia Datnpier, tho young Auckland violinist, says that Miss Dani pier has made great progress under Mr Kruse, who entertains so high opinion of her talent that he is anxious to continue her tuition free for another six or twelve months. He proposes to allow her to make her debut in London later on. Celia, says my correspondent, has now grown to be a tine tali girl.