The Zither.

New Zealand Graphic, Volume XXIX, Issue VIII, 23 August 1902, Page 506

The Zither.

The readers of this paper frequently write asking for advice as to the selection of a musical instrument which will be effective, and at the same time neither too expensive to purchase, nor too difficult to learn; therefore, a few words respecting the merits of the zither may possibly be of use to some of the many girls who, though musically inclined, are rather weary of the pianoforte, and fear to venture on that most exacting instrument, the violin. To such, the usual alternatives appear to be the banjo, guitar or mandolin; although neither of these is at all a satisfactory substitute. The banjo has so many- vul-

gar associations, and, even when well played, it amounts to so little that, I fancy, its present popularity as a drawing-room accessory will be but short-lived. Both the guitar and the mandolin are so thin and insignificant in tone that a solo upon either is but a poor affair. With the exception of the pianoforte, there is, to my mind, no more acceptable instrument for the home circle than the harp; but then there arises the unfortunate question of expense, and non-musical fathers have even been known to demur at being asked to spend £2OO on a harp when, in their eyes, the household piano is capable of supplying all the music any orthodox daughter could possibly desire. A good harp costs as much as a grand piano, and a low-priced harp is always dear in the end. Under these circumstances, the zither is well

worth consideration. The improvements that have been made of late in its mechanism place it on a very different level to the mandolin, banjo, etc.; while it is comparatively so inexpensive that many patronise it who would seriously hesitate before indulging in a harp. Its sweet, fairylike tones are eminently suited to small rooms, though it is surprising how far they will carry in a concert hall. Another great recommendation is the portability of the zither, which can be carried as conveniently as a violin.

The zither is of very ancient origin. It is said to have been played in China 2700 8.C.; and was known in India as far back as 2400 B.C. Egyptians, Greeks and Romans all cultivated it assiduously. One authority considers it far more probable that Nero zithered, than that he performed a violin solo while Rome was in flames, as competitions in zitherplaying were always included in the great festivals he held every five years. Like all else in this progressive world, the change the zither has undergone since those days is considerable. In the early part of this century it was the favourite instrument of the Bavarian and Tyrolese peasants. They used it to accompany their folk-songs and their country dances, or landler; indeed, on every festive or social occasion it was called into active, service. It would probably have remained much longer in the semi-obscurity of the alpine heights had it not been for the enthusiasm of Johann Petzmayer, the son of a Viennese innkeeper, who, though self-taught, managed to produce such beautiful effects from his instrument (which must have been very meagre, when compared with those made in the present day), that his fame soon spread beyond his father’s customers, and eventually he was patronised by the whole of fashionable Vienna. In 1833 Petzmayer made a tour through Germany, thus widely increasing his circle of admirers. Other players soon appeared before the public, and the question naturally arose as to whether the size and general construction of the instrument could not be materially improved upon. More strings were added. and these were arranged systematically; but perhaps the most important alterations were in connec-

tiou with the shape of the resonance box, and the mode of fastening the strings. Herr Curt Schulz, a native of Dresden, carefully investigated the matter from a scientific, as well as from an artistic, point of view; his labours resulting in the “Arion” or “Schulz” zither, which has the most powerful tone, and is the nearest to perfection of any yet produced. This has thirty-six strings, and a compass of six octaves. In 1850 Herr Schulz came to England, and introduced the zither into this country, where it has become especially popular among the upper classes. The Princess of Wales was so fascinated with it, when hearing one of her ladies playing, that she immediately informed Herr Schulz of her wish to become his pupil, and she is now an accomplished performer. The Empress of Austria, the Emperor of Brazil, Princess Marguerite of Orleans, and Duke Maximilian of Bavaria are likewise admirable zitherists. A story is told of the Duke Maxamilian, who was fond of taking long mountain excursions with his secretary, his zither always accompanying him on his rambles. On one occasion they sat in an hotel at Kissengen, and the Duke began to play. They soon attracted a large crowd of listeners, and at the close of the impromptu recital, signified, in the usual manner, their willingness to accept any donation, however small. It was not until after the collection had been taken, and the Duke had added his own purse to the “hat,” which he requested should be devoted to the poor, that the hotel-keeper realised who the travelling musician was.