Music and Drama.

New Zealand Graphic, Volume XLVI, Issue 4, 26 July 1911, Page 14

Music and Drama.

By

BAYREUTH.

BOOKINGS. (Dates subject to alteration.) AUCKLAND HIS MAJESTY’S. July 24 to August 5— "Jack and the Beanstalk.*' August 14 to September 2—“Tlie Arcadians.” ’ September 4- “Our Miss Gibbs.’ OI’EKA HOUSE. Aug 23 to 31 Sousa's Band. WELLINGTON Opera house. July 21 28 Moving Pictures: “A Ticket in • Th !»«;”• July 20, August 4—“ The Scarlet Troubadours,” August 7 16 ,1. and N. Tait, Nicola, Magi August 1726 J. C. Wiliamson. Pantomime. ‘ Jack and the Beanstalk.” August 28, September 4 —Florence Baine Coni ed y Company. (September I L36* Clarke and- Meynell’s • (lav (lordim's" Company. October 11-25 J. C. Williamson, “Our Miss •Gibbs" Company. November 3-16 -Clarke and Meynell. December 23, January IG—J. C. Williamson. TOWN ilALfh August 1119 Sousa’s Band.

The Autobiography of Richard Wagner. ZTA Y l ife,’’ the famous biography, ill which has filled columns and it I J columns of London journals recently, is a wonderful revelation of the greatest operatic composer the world has over seen—-Richard Wagner. Unfortunately and unhappily, iu New Zealand the greatest works of the composer —"Tristan and Isolde,” “d’lie Meistersinger,” and “The Ring”— are a closed book to us. Organ recitals have acquainted us in some degree—pmall degree. 1 fear—with the wonderful music that threw all Europe in the seventies and eighties of the last century into one of the fiercest controversies jn .musical history. Wagner writes in no bitter strain. He ts viewing the course of his wanderings from a dearly-gained haven. Yet the oiiaiti impression is made by (he sempir teynal discomfort and wretchedness, the jhjdeoqs and perpetual fret of fijiajiciad want, the exasperating pest of minor ailments which harassed and exhausted this royal genuis. Wg are given a picture of » l»oyhood all ill-directed and nearly sordid—not that Wagner lays stress on the obviously - horribly uncomfortable , Bohemianism of that strange, unaffectionatc home. with the twice-widowed another and i.lic. crowd of actress,.'sisters. The story of his w t.wenty-five years of married life with the pitiably tiresome •Minna more nearly approaches vividness i|hajj anything in the autobiography. “1 do-iuil Relieve that she ever felt any F»ort of passion or genuine love for, me f (he says), or, indeed, that she was eapable of such a thing.” They, visit the clergyman the day lieforc their wedding rnd quarrel on the doorstep: “An altercation rose between us which speedily led to such 'bitter vituperation that we were just on the point of separating ami going ead.i our own way. T'l'.ep the clergyman opened the door.” Nix months iater (May 1837) Militia (doped with a merchant named Dietrich, <>nly ret In ning to Wagner in the next October: - - A Supper in Paris. There are dark pages telling of the years (1839 1842) of hack-work and at Paris, but- not n'lilit •with joyous gleams. Here is a New .Year's Eve (1841) celebration: “The supper developed into a ditliyr.tmbic orgy. When the champagne was drunk and the punch began to produce its effects, I delivered a fiery speech which so provoked the hilarity of the company that it seemed as though it (Would never cnj. I became so excited fthat I first mounted a chair and then, by way of heightening the effect, al lad stood on tlx* table, thence to preach the maddest gospel of the contempt of life together with a eulogy on the South American States. My charmed listenei* eventually l»h»ke into such fits of sobs and laughter, n*ud wen* so overcome‘that we had to give them all shelter for, the flight.”

The pages concerning Wagner’s famous risk to London to conduct the Philbar Bionic Orchestra in 1855 can only bq

painful tv English readers. Musical London of 1855 seems more like the Middle Ages. But .Wagner also noted phenomena which have not wholly passed into the past. He . truly comments on the dreary oratorio evenings at Exeter Hall of bygone, days. . . What amuses a foreigner in England is the feeling among the audience that an evening spent in listening to an oratorio may be regarded as a sort of service, and is —almost- as good as gou'K church. Everyone in the audience holds a Handel piano score in the same way as one holds a prayer-book in church. These scores are sold at the box-office in shilling editions, and are followed most diligently—out of anxiety, it seemed to me,’ not to miss certain points solemnly enjoyed by the whole audience. For instance, at the beginning of the ‘•Hallelujah Chorus’’ it is considered proper for everyone to rise from his seat. This movement, which probably originated in an expression <»f enthusiasm, is now carried out at each performance of tlie ‘ Messiah” with painful precision. How truly this observation applies to the -average audience in New Zealand to-day. We- still make a fetish of Handel instead of treating him as the ponderous old fashioned and dull composer that he is now.

Mme. Cosima Wagner. Mme. Cosima appears for the first time as Hans von Bulow’s young bride. Bulow, visiting Wagner, played “Siegfried” on the piano from the rough drafts. “Cosinia listened silently, with her head 'bowed; if pressed for an expression of opinion she began to cry.” Here is a later incident:

While I was singing “Wotan’s Abschied” to my friends I noticed the same expression on Cosima’s face as I had seen on it, to my astonishment, in Zurich on a similar occasion, only the ecstasy of it -was transfigured into something higher. Everything / connected with this was shrouded in ..silence and mystery, but the belief • that, she belonged to me grew to suclf ebrtainty in my mind that when 4 was .tinder .the influence of more than excitement my conduct betrayed, the ’ most reckless gaiety. As T yas accompanying Corshna to the hotel across a public square I suddenly suggested she should sit in an empty wheelbarrow which stood in the street, so that I miglit wheel her to the hotel. -She assented in an instant. My astonishment was so great that I felt ail my courage desert mq. and was unable to carry out my mad project.” Eventually, as is well known. Wagner and Cosima came together. Such things can happen in intellectual countries and be received in sympathetic alienee.

Disastrous Attempt at Descriptive Effects.

Richard, Straus,s, the famous composer of “Salome,” “Elektra,” and other opera;!, is frequently accused of introducing wild and incoli' -ent noises into his orchestration simply for the sake of effect. The accusation as it is phrased merely represents the-view of a conservative mind which wishes to restrict music instruments to what they are now, and resent all innovations. It is, of course, in flat contradiction to all the phenomena of progress and evolution in music, and Strauss, after all, was by no means the originator of descriptive effects in orchestration. Wagner, in his biography, tells us what happened at a benefit concert in Magdeburg which he gave on his own behalf.

“Another and more unexpected mishap befell my concert, through our unfortunate selection of pieces. Owing to the excessive reverberation of the saloon the noise was unbearable. My‘Columbus’ overture, with its six trumpets, had early In the evening filled the audience with terror; and now,at the end. came Beethoven’s ‘ Schlaelit bei Vittoria,’ for which, in enthusiastic expectation of limitless receipts, I had provided every imaginable orchestral luxury. The firing of cannon and musketry was organised with the utmost elaboration, on both the French and English sides, by means of specially constructed and costly apparatus; while trumpets and Inigles had been doubled and trebled. Then began a

battle, such as has seldom been more cruelly fought in a concert room. The orchestra flung itself, so to speak, upon tlie scanty audience with such an overxvhelniing superiority of numbers that the latter speedily gave up all thought of resistance, and literally took to flight. Mme. Schroder-Devrient had kindly taken a front seat, that she miglit hear the concert to an end. Much as she may 'have been inured to terrors of this kind, this was more than she could stand, even out of friendship for me. When, therefore, the fenglish made a fresh desperate assault upon the French position, she took to flight, almost wringing her hands. Her action became the signal for a panie-stri<tken stampede. Everyone rushed out, and Wellington’s victory was finally celebrated in a confidential outburst between myself anil the orchestra alone.” Instruments Used by Richard Strauss. In the attempt to obtain realistic effects in orchestration, Richard Strauss is a past master. His “ Symphonia Dotnestiea ” is a pretty accurate phonetic reproduction of household troubles and. joys. In his “ Death and Transcription” the battling of a man with death on a sick-bed was musically portrayed with almost frightful reality. In “Salome” and “Electra” all the resources of the modern orchestra were drawn upon to eall forth dramatic effects so very real that many a hearer was more horrified than pleased.

Muffled drums have always been used marches, and - Strauss, too, employs them whenever some lugubrious opportunity offers. Every melo drama in which a thunder storm figures includes among its properties a huge drum. Strauss’ drum is a good deal larger and flatter than the ordinary bass drum which produces Jovian thunder and booming artillery. The effect of rushing water and hissing steam is produced by the simple expedient of rubbing a drum head with brushes. The musical portrayal of lightning necessarily calls for an instrument of incisive sound. Henee, in connection with the thunder drum,- a cymbal is used, which is struck with a felt-covered stick. The cymbal and the thunder drum are companion instruments. Castanets and triangles are familiar instruments, and Strauss employs them chiefly for heightening the rhythmic effect of dances. The trampling of horses and the dancing of negroes is very realistically mimicked by means of a Chinese wooden' drum, which is l»eaten with tubular sticks. Similar in their character are the “glockenspiel” and the “tubaphone.” both of which are not particularly new, but rarely used. The plashing of rain is imitated by means of a hydrophone,.a drum which is filled with small stones, mounted upon bearings and rotated. The cracking of whips is reproduced by means of wooden dappers which are sipiilar to those which small boys use.

Elgar's Magnificent Second Symphony.

The third day of the recent London musical festival was marked by Uie first, hearing of Sir Edward Elgar’s second Symphony. The news of the performance reached us a week or so ago, and was duly chronicled, but T have been waiting to get the opinions of. several reliable critics before giving the verdict.

These are now available, and it appear* unquestionably Elgar has produced, a wonderful work. In fact, it is difficult to speak without entliusiasui of Elgar’s latest creation (says one writer unreservedly). In the interval of three and n-half years that divided his second symphony from his first. Sir Edward has done much and, doubtless, travelled far. His outlook of the world is consequence much wider. His genius has expanded, and though the note is just as personal as in the earlier work, it is less self-centred and the expression is more universal.

It will lie remembered that the new symphony is dedicated to the memory of King Edward VII. Before the first movement ends an inward conviction is established that Elgar has never done anything finer; is, in fact, giving us of his best. .. The scoring is magnificent, and the terrific chroinatic upward rush of the whole orchestra at the end of this section is an inspiration. But the culminating glory of the new work is the second movement, which wilt probably become established as the Funeral March of the near future. In spirit and. expression it is worthy to be ranked, among the famous solemn outpourings of the same kind by Handel, Chopin, Beethoven and Mendelssohn.

In its beautiful strains Sir Edward has voiced not only his own, but a nation’s loyal tribute to the memory of him to wiiom the work is dedicated. The rondo, which follows, is not the happiest of tlie four movements, but some striking uses are made of some of the

heavier instruments in the orchestra, the whole section showing ,the composer’s consummate command of effects.

The last movement is a fitting finale to a great work. Onee heard, the vigorous opening subject on the basses is not easily forgotten. It is as insistent and. compelling as the choral figure in the “Immortal Ninth.” Thoroughly Elgaresque in form and spirit, this final sec? tion, with its masterly its astonishing orchestration, gives the symphony the character of strong individuality and powerful inventiveness. . 4 Sir Edward Elgar, who conducted, and who received a great ovation at the close of his task, could, not have wished for or imagined a finer introduction to the public for his wprk ; than that- given by the members of th.e Queen’s Hall Orchestra'. “We go as far as. to say,” remarks another eclectic critic, “that it is a superb achievement, and places its composer iit serious competition with Richard Strauss. The Funeral March movement — though its opening theme is not very novel — seemed to us a very perfectly modelled creation —full of inspiration in treatment —full of wondrously beautiful polyphonic writing, as indeed are the accompanying movements. The scherzp, also, is, .very, original and extraordinarily brilliant. The first movement is very interesting and impressive and the finale effective, especially towards the end. The whole score is packed full of good things, and everything is quite easy to follow to the music-lover who understands and appreciates modern music. It is satisfactory to know that we now have a new werk -that is worth-'lb» to again- and again.” -

Patti Still SinKlnKMadame Patti- has once more . suug from the concert platforin in laiiidon, despite the fact she gave her first farewell concert over a decade ago. - “What a lovely voice!” “What bird-

like tones!” were expressions heard on every side at the Albert Hall when Patti raised- her once incomparable voice. The occasion was the concert given in aid of the veteran musician, Mr. William Ganz, who recently met with a bad accident.

It was not only sentiment and affection that were voiced in the applause of the great crowd at the Albert Hall, but genuine admiration (says a critic). It was generally agreed that aS regards power and flexibility of voice the calendar seemed to have gone back a decade in Mme. Patti’s career. Such perfect phrasing, such immaculate diction, and such ease and grace of style come as an object—even a moral—• lesson in a world where there is so much loose performance that is passing as good Binging.

Apart from all vocal considerations, the mystery of personality is still strongly Mme. Patti's, and this is a gift that outlives all'art. The diva’s chief solos were “Voi che sapete,” from “Figaro,” to which was added, in response to the vociferous applause, her favourite aria, “Pur dieente,” and Tosti's “Serenata.” A Patti concert without “Home, Sweet Home” would, of course, be inconceivable, and this domestic anthem of the British people was given as a second encore. Mme. Tetrazzini, who is particularly attached to her great colleague, left her place in the stalls, amid tumultuous eheers, and rushed on the platform, and after presenting Mme. Patti with a lovely bouquet, warmly embraced her several times.

A Wail Against Amateurs. Here is the tail end of a lament of a tired English reviewer in expressing himself, both forcibly and candidly, about amateurs. It would be suicidal to suggest it has any- application in Auckland, at the present time, where the Amateur Operatic Society has just .concluded 1 , a highly successful season of "The Pirates of Penzance”:—

"This is the golden age of the arrogant inept, the blatant unequipped. Artists and the expertly skilled surround us abundantly; some manage to live and a few to thrive, but the greater number are less happily circumstanced. The practice

of an art is not now justifiable by economic principles; the producer of works of art cannot prove a demand. A poet cannot reasonably expect to get a living, nor can a musician legitimately complain if a symphony sells for less than a fountain-pen. Attempts are made to stimulate tlie taste of the massed public, generally with utter luck of success. The great function, the pre-eminent effort, of the amateur: namely, to justify the artist to the world, is a thing of past ages. The patron, as willing dispenser of ducats and loving foster-father of wistful artists, is no longer with us. He lias been succeeded by the modern amateur; the assiduous bungler, often infinitely patient and pathetically serious, but always futile. “Alas, for the great days of patronage!”

Auckland's Weary Choral Society. The third concert of the Auckland Lkoxal Society’s season took the form of the annual "benefit” tendered by the Orchestral Society in accordance with a good custom. It was rather a relief after recent over-doses of "Messiah” and “Creation.” For some reason or other, the Choral Society remains not only the most conservative musical body in Auckland to-day, but as I suspect, actually glory in it. A committee of very •stimable gentlemen, whose enthusiasm As supporters of music is to be'- encouraged, still, I understand, refuse to allow the conductor to make the final ••lection for the concert programmes.

Would it not be better if Dr Thomas were given an absolutely free hand in such matters? The standing reproach against the Society is that it is dull jnd unprogressive, that it remains ip the same rut year in year out, and subscribers are invited to listen, for the most part, to old fashioned oratorios. The Sheffield Choir in two evenings alone opened up for the public programmes that at once appealed to music lovers as being far brighter and much more interesting than the stuff which is inflicted on long-suffering audiences ,in Auckland. The programmes of the Sheffield Choir by no means covered the range of modern choral music. If our much-respected and venerable choral society is going to retain its place in the annals of music in Auckland, some move will have to be made to infuse their concerts with modern works as well as old fashioned oratorios. Otherwise the process of decay and general weariness that is manifest. in their musical efforts to-day will go on, and the society pass away at last into a sad and ignominious oblivion. The Concert.

The orchestral concerts given at the Choral Hall last week with Herr Wielaert conducting, were quite up to standard, and much interest was centred in the reappearance of Mr Hamilton Hodges, with a charming set of American Indian songs, by Charles Wakefield Cadman. The curious, melancholy chan'ts of Indian life were introduced with fine descriptive effect, and Mr Hodges gave them all splendid interpretation. It was quite _a breath of modern vocal music in its highest artistic expression that at a Choral Society concert proper would be almost unimaginable. Mr Hodges also sang “The Erl King” with his accustomed vigour and clearness of rendering, and, of course, drew the inevitable encores. The success of his items .in a measure rested with’ Mr Cyril To’wsey. who is easily our best accompanist in Auckland —if not in New' Zealand.

The. programme of the Orchestra -was’ wiclL chosen, such numbers as Schubert's “Unfinished Symphony,” Elgar’s ' “Pomp and Circumstance,” and

Mendelssohn’s overture “Fingal’s Cave,” always being welcome. The “Unfinished,” was so, I fear, both in name and performance. That is to say there was a lack of finish and legato about both movements that ought to be rectified. The tempo seemed to me, listening from the back of the hall, on the slow side, which, in a measure, may. have affected the finish of the rendering. A very welcome item was the first performance in Auckland of Svendsen's "Norwegian Artists’ Carnival.” It is a joyous work, full of life a-nd colour, with a lot of hard work for woodwind and strings. It was an excellent performance that did much to make the composition highly acceptable to tho audience. Some of the second strings were unpardonably coarse in tone at times, but it was a good effort, and a very welcome addition to the repertoire of the Society. During the evening a flute solo was also given by Mr G. A. Paque, and duly encored.

The Coming of Sousa and His Band. The New Zealand tour of John Philip Sousa and his talented band of sixty performers opens in Invercargill on the last day of this mouth, and will, after embracing all the principal towns jn the South, terminate in Auckland with a season of eight days, commencing on August 23rd. The expense attached to the conducting such a tour is enormous, and when it is stated that each member of

this band is a salaried artist, one can readily believe the management, who inform me that the weekly expenses total 12,000. From the time the bandtppens in the South till they take their departure from Auckland, just a mouth elapses, and the tour has been so carefully arranged that not a single night will be lost, and the journey North will be broken at some places'for a few hours to give a matinee. The tour is under the-direetion of Mr. Edward Branseombe, who is ever considerate for the publie he caters for, and insists that the band shall perform only in sueh places as can boast of comfortable seating accommodation ami possessing good acoustic properties, irrespective of the number of people they-will-hold. By arrangement with Messrs, John Fuller and Sons, the Auckland Opera .House was secured, and the possibility of one of the Harbour Board sheds being used was thus avoided. In his letters to his representative (Mr. Scott Colville) Mr. Branseombe states that throughout the Commonwealth Sousa and his band have been an enormous success, a,nd he has lit tie doubt that Maori land will be no exception. The programmes submitted by this coterie of star instrumentalists are quite unique, varying from Wagnerian masterpieces to the humouresque scored Iroir: tho popular American music ball song. "Has Anyone Here Seen Kelly?”—the quaintest instrumental comedy ever conceived. There are also marches that have become so well known through the medium of the phonograph record, dr. to use a Sousaism, "canned music.” These stirring marches rouse the greatest enthusiasm among an audience, and on the bands opening night in the Town Hall, Sydney, after the rendering of “The Stars and Stripes For Ever” march the huge audience rose and 'cheered thif composer. The marvellous control this quiet little man has over his players impresses one; he gets all that is good from his band without the aid of gymnastic or contortion feats; he stands at the conductor’s desk and weaves his musical- fabric much the same as the hand-looms were worked in the long ago.” •The band is due to appear in Wellington from August 14 to 19. and will subsequently pay a visit to Auckland.

The Pantomime. Pantomime is pantomime no longer. It is a hybrid class of production in which the older form of entertainment Js almost effaced by the introduction of music hall “ turns ” and “ gags.” With ancient pantomime it is now only a question of time. It has been split by two utterly divergent factions—one the music-hall and variety importations, the other that far more welcome and saner expression of the Christmas revels which finds its being in “ Peter Pan,” “ Pinkie and the Faities ” and “ Th e Blue Bird. ’ There can be no question as to which order “ Jack aiid the Beanstalk ” belongs. It is modern pantomime giving full rein to the modern “ patti r comedian and the music hall “ turn.” The original story is not only garbled and bowdlerised almost out of recognition, but interrupted witfiout the slightest compunction to make way for a sentimental love song, a " turn ” by acrobats, or for a flow of addled ideas from the principal comedian which never fails to tickle the unsophisticated public. I am not in any sense of the wor.d complaining or “ finding fault,” but merely chronicling the observations that must occur to any person of intelligence. So long as the public shriek at a man with a red none, masquerading in a skirt, so long will the "humour” (alas! for the word) of pantomime continue. Mr. Jack Cannot is, of course, a very absurd and amusing personage as “ Dame llrot.”

“ Jaek and the Beanstalk ” gives more than the usual amount- of openings to liberate the floodgates of liis "patter” oiuthe-audience. Whilst there should be nothing but kind words for his elever performance, it is a pity he cannot keep away from the thin ice. Vulgarity is a healthy thing employed in a healthy way when it is designed to wither up artificiality in human nature, but when it is tainted with coarseness, it. is time some one spoke, -

Putting aside- the linanities of tho evening, there is no doubt that “Jack and the Beanstalk” is a splendid spectacle. Ihe ballets for the greater part are excellent, and a notable improvement is manifest in the use and choice of colours in the dresses and the settings which produce some truly fine effects. Scene after scene follows with a kaleidoscopic rush of colour, of nimble feet and’ limbs, and palpitating draperies. Quite the two best things in the piece are the Pan'lzers— the finest aerobat* New Zealand has ever seen—and tho “cow” (delightfully impersonated by Mr. W. A. Hassan). After that comes the usual galaxy of comedians, the inevitable "boy ’ (which Miss Mabel Morgan did very well with), and tailing somewhat after the others. “The Doherty Sisters.”

<)n the whole "Jack and the Beanstalk” is quite as good as most pantomimes, and il it is weak and almost incoherent in the story, it is exceptionally well staged and mounted- The opening performance in Auckland on Monday night went without a .hitch, and, of course, there- wa? ■the usual rush on the part of the public to secure seats. /

Il is not quite the same pantomime Melbourne saw in so far that several of the principals who appeared there did not come to New Zealand. Whilst the management can no doubt offer many excellent reasons why this should be so, it is no satisfaction to the public. If contracts are made to bring artists or comedians out some 12,0000 or 13,000 miles by sea, it seems a pity that for the sake of the extra twelve hundred miles, and the good name of the firm, that these people cannot, it would appear, be induced to believe the standard of appreciation in New Zealand, and, therefore, of intelligence, is just as keen, if not a little better at times than it is in some parts of Australia. They, therefore, won’t or, shall I say, cannot be induced to come on to New Zealand. Stray Note*.

"Alias Jimmy Valentine"—a burglar play which was given with full extracts from tlie original dialogue in these columns some months ago—is ineluded in J. O. Williamson’s list of forthcoming productions. Riehard Strauss’ “Roscnkavalier” will probably be produced in German, not English, in the autumn at Coveut Garden. The whole production, artists, scenery and costumes from the Dresden opera arc to be brought across for the lauulon performances. Zola’s novel, "La Debacle,” has been made the subject of an opera by a German composer, Karl Weiss. Tlie new work, which is called “1870.” will be produced next winter at the German Theatre at Prague. ... .

Very few people are aware that Sir Henry Wood, besides being one of the most celebrated of British conductors of orchestra, is a painter of not inconsiderable merit. Fifty of his oil paintings were on view at the Piccadilly Arcade Gallery in London recently, and excited a lot of interest.

Mischa Elman, the violinist, landed in England the other day after a five months’ tour in the United States and Canada. "The tour, during which I went as far west as San Francisco and Vancouver, yielded me <20,000 clear profit,” he said in an interview.