Music and Drama.

New Zealand Graphic, Volume XLVII, Issue 21, 22 May 1912, Page 13

Music and Drama.

By

BAYREUTH.

BOOKINGS. (Dates subject to alterationji HIS MAJESTY’S THEATRE. May 13 to May 25.—Von Arx Company. May 27.—Wykeham-N-oble Co. June 10 to June 22.—Portus and Talbot’s Minstrels. June 24 to July 6—Pantomime. July 22 to August 3—“ The Blue Bird.’’ September 30 to October 12—Oscar Asehe, Lily Brayton. WELLINGTON OPERA HOUSE. July 17 to 30—J. C. Williamson, Ltd., Pantomime Co. August 14 to 27—“ The Blue Bird” Co. September 23 to October 2—Plimmer Denniston Company October 10 to November 2—Oscar AscheLily Brayton Co. November s—" Ben Hur” Co. Fntm-ist School of Music. ROLLOWING the lead of poetry and painting, music now boasts of a Futurist School or doctrine. This was announced recently by a leader of the movement to the Paris correspondent of the New York “Times.” This leader thinks it will be safer for the present to remain anonymous. Present, and all past music, he declares, will be no longer subtle enough for modern ears, and he styles it “ancestral.” “Wo no longer respond to the productions of the musicians of past centuries,” he continues, “and Inust create a new art, corresponding with the highly-evolved sensitiveness of the present, as well as that of the future.” All traditional forms an I scales of the past are, therefore, to be east aside, and the Futurists are composing in scales subdivided into ninths of a tone, and having seventy-two notes to the octave. This scale, it is explained, is only provisional, and will soon be made still more complicated to suit the refinements of the Futurist taste. For the new notation, which is called “comantic,” special instruments are being made, and an exhibition will shortly be given of pianos, violins, and other stringed instruments, adjusted to the requirements of the first Futurist concert, which will be given in a few weeks’ time, and is confidently expected to startle Paris. The leader of the Futurist musicians has no illusions as to the permanence of his system. “When the public begins to appreciate it,” he says, “there will be no excuse even for the romantic school, which must give place to what may be called schismatic musie, which will have twice as many notes and will eventually be succeeded by a scale of which each note will be one vibration more than that below it.” London Symphony Travel in Rayal Style. The tour of tihe London Symphony Orchestra of one hundred' musicians under the foremost European conductor, Herr Arthur Nikisch, assumes grand opera proportions when the matter of counting the cost comes up for consideration. The minimum cost of each of the thirty-one concerts to be given in the United States and Canada is about £lOOO. Manager Howard Pew, of New York, has not only contracted for the most palatial special train the Pullman Company can furnish, but has also agreed to pay the steamship fares to and from Europe and all their hotel ami other expenses while on tour. The United States Customs department has already started an investigation relative to the number of instruments the British orchestra will bring with them. To each member a blank has been forwarded which asks, among other questions, the name and number of each instrument, the name of the maker and the value. The strings owned by the members of the London Symphony are said to be the most valuable of any organisation in the world. “ The Seagull.’’ It is difficult to say what particular object Tchekhof had in view in writing “ The Seagull,” says a London writer in referring to thia Russian plav, which was produced 1 at the Little Theatre last month. The story is distinctly subordinate to the characters; it is in the personages of the drama that both Tchekhof and ourselves find most interest. He paints for us “the literary

man” in Trigorin—the man in whose veins flows not blood, but printers’ ink, who is everything and always looking for “copy,” who treats all the incidents of life which he comes across, not as dramatic episodes with an innate power, to excite or please or wound us, but as materials for short or long stories. Masha attracts him not for herself, 'but as a curious type—“takes snuff and drinks vodka; always dressed in black.” Even Nina, a girl who is thoroughly sympathetic to him, and with whom he fancies himself in love, is primarily the heroine of sketch suggested by the seagull, which, shot by Constantine, he finds lying at her side. “A girl loving the lake like a seagull. A man comes along, sees her, and ruins her, like this seagull, just to amuse himself —a subject for a short story.” Then there is Arcadina, the actress—a typical actress, who sees everything from the point of view of the footlights, growing old and yet pretending to herself that no one can play young parts as well as she can, in love with Trigorin, and' frantically jealous of Nina, fond of her son. Constantine, and yet thoroughly out of touch with him and his ideals. Nina is the passionate, emotional, ambitious amateur, who wonders what fame and glory are like, and sacrifices herself and Constantine in order to appear on the Moscow stage and be near Trigorin. And once more there is Constantine Trepleff, a difficult, sensitive, proud young man, who belongs to the generation which is “knocking at our doors,” who represents a form of decadence and perhaps symbolism, but who is both clever and able for all that; and who might assuredly have “arrived,” if he had not lost all joy in life, in losing his beloved Nina. These are the main characters, but there are others equally typical. “Judge Not.’’ Tchekhof does not allow himself to pass judgments on any of them. He tries to put them before iis as he sees them; but whether they .are good or bad, noble or mean, right or wrong, he will not or can not tell us. Trigorin, who is false to Arcadina, ruins Nina and drives Constantine to suicide, is evidently a man of charm, an amiable, good-tempered man who likes fishing better almost than writing, and certainly has no bad intentions towards anybody. Is Constantine Trepleff to be condemned for his decadent tastes and for his youthful aptitude in running after false gods? Oh, dear no! Tchekhof himself was too “new” for some of his Russian contemporaries and critics, and he does not laugh at Constantine, who is his younger self. Besides, he allows him to succeed in literature towards the end of the play. All he puts before us is that a young man of this complex and difficult temperament is likely to make a mess of life, and in all probability is foredoomed to suicide. Arcadina, the actress, wants to be a good mother to her son. She cannot help having an actress’s vanity, combined, as that form of selfishness usually is, with a certain cruelty. Nor is Nina judged by her creator. She is simply analysed—the amateur who thought she had enough stuff in her to become a true professional, and who failed. Indeed, Nina is very tenderly drawn, as though Tchekhof was fully aware of her virginal charm. All the characters are treated in this objective, impersonal spirit. They represent phases of life and manners: slices, cut out of humanity. And equally, of course, there is no moral to the play. It works out uncomfortable, but then that is precisely what life does, in our usual experience. Life has no arranged “situations” or “curtains” or even any special “denouements.” There is not much “action” in the piece. Such action as it has is mainly psychological—an illustration of character brought into relation with one another side so contrasted. If there is any general subject, it would seem to be. as Mr. G. Calderon says in his introduction to the play, the universal frustration of desire. Medvedenko is in love with Masha, Masha is in love with Constantine, Constantine is in love with Nina, Nina is in love with Trigorin, Pauline is in love with Dorn, and Dorn is in love with himself. No one gets what he or she may want.

“ Advice to Young Organists.” Be patient. Be persevering. Remember the swell pedal is not the village pump-handle, and don’t use it as such. Discretion is a valuable commodity, and an organist (perhaps of all men) requires plenty of it. Empty tin cans may make a great noise. Don’t let your emptiness be known unto all men. Should you be so unfortunate as to find that you are losing your “enthusiasm,” resign your post at once! No man has any right to retain his office under such circumstances. If your choir should have a tendency to sing somewhat out of tune, adding power (or reeds) to your accompaniment will not usually improve matters. Giving the note to the boys is not “good form”; and probably indicates insufficient training. “Blessed are they who expect nothing.” If you are careful in your expectations, you may not be disappointed! —J. T. Field. A New Venture. Monopolism in anything, in any part of the world, as England’s famous Chancellor of the Exchequer has asserted time after time, will ever prove disastrous to the general public. While there ore a number of people who do not take a great deal of notice of any statement attributed to Lloyd George, there can be few who will dispute the fact that the keener competition among those who are catering for the wants of the general public, the better in every way will the general public be served. This fact is peculiarly apt at the present moment so far as theatrical affairs in Australasia are concerned. Although some may resent the use of the phrase “wants of the general public” in connection with the theatre, it is deliberately employed here on the hypothesis that yesterday’s luxuries are to-day’s necessities. However, the proof that the play-going public of New Zealand is fully conscious of the benefits they derive from competition amongst those catering for them, is forthcoming by the hearty welcome which they are ever ready to accord a new and enterprising theatrical firm.

Especially is this the case when the head, or heads, of that firm are known to them by the excellence of their work under older managements. Messrs. Reginald Wykeham and Edward Nable, w'ho have recently joined forces, will commence Ulis venture in New Zealand with a season starting on Saturday next, 25th May, at His Majesty’s Theatre, 'Auckland, their repertoire comprising several of America’s musical farcical comedy successes. Neither of these two enterprising entrepreneurs will need any introduction to theatregoers. Reginald Wykeham’s long association with Hugh J. Ward, both as producer and comedian, marks him as the very man to be at the head of a company whose primary object is to make the people laugh. Everyone will remember his performance of Colonel Tandy in the famous “Girl from Rector’s,” and' •his delightfully droll sketch of the Duke in “Mr. Hopkinson.” Another factor which should go a long way towards Mr. Wykeham’s welcome is the memory of how unsparingly he worked with Mr. Ward in his hospital campaign, being responsible fox - the programmes that netted such a great sum for the hospitals. Edward Nable, who first appeared before New Zealanders under tlxe famous Pollard direction,. is another great favourite 'here. Though it is difficult to single out particular performances from the number of characters he has essayed, his Ichabad Bronson in “The Belle of New York,” and Mr. Hoggenheimer in “The Girl from Kay’s” are probably his two most popular portrayals. With two sueh capable actors as managers the new firm starts out under excellent auspices, and certainly with the heartiest good wishes of the play-going public throughout the Dominion. The Auckland Competitions. So much depends on the selection of adjudicators for competition festivals that the executive of the Auckland Competitions Society made exhaustive inquiries regarding the many applicants for these positions, and finally decided to engage Mr. W. Arundel Orchard, of Sydney, as the musical adjudicator, and Mr. W. L. Paine, of Melbourne, as adjudicator in the elocution section. Both of

the.-u: gentlemen are recognised as leading authorities in their professions, and they have acted as adjudicators at all the principal competition festivals in Australasia. In Sydney. Mr. Orchard occupies a very high position in musical circles, and as conductor of the Sydney laedertafel and Madrigal Society liis musical abilities are remonstrated by the magnificent performances which these Societies give under his direction. As a composer Mr. Orchard has also achieved fame, several of his nongs and Choral works having become extremely popular in England and Australia. As an adjudicator, Mr. Orchard has been most successful, and the demand for his services in this capacity are more than he can fill, and the Auckland Competitions Society is fortunate in having Secured such a thorough musician and adjudicator. The elocution adjudicator, Mr. W. E. Paine, lias had a most distinguished career, and ever since 1883 when he was champion of the famous Ballarat festival he has won success as performer, teacher and adjudicator. In conjunction with Mr. Walter Bentley, Mr. Paine has Appeared in many Shakesperian productions, and latterly with the assistance of Mrs. Paine has conducted in Melbourne “The Modern Academy of Elocution,” which is recognised as the. finest elocution school in Victoria. For the past 20 years Mr. Paine has adjudicated Sat all the leading festivals, including Ballarat, Melbourne, (six years), Eaunceston, Hobart, Hamilton, Queenscliff, and, many others, at all of which his Work was appreciated by the societies, competitors and public, and all intending Competitors for the Auckland competitions, which are to be held in August, should have the greatest confidence in Mr. Paine's judgments, and benefit by his good advice. Empire Day Concert. Amongst the various efforts which are being made to draw together in closer comradeship the scattered members of this great Empire, none should appeal more strongly than the claims of music. Above all things, music ana Bong are calculated to . rouse patriotic find brotherly sentiment, a fact which was fully demonstrated by the enthusiastic progress of the Sheffield Choir. There are two societies now working in Auckland whose objects are common, although the work lies in somewhat different directions. The one the “Overseas Club" has as part of its creed—the pledge, “to maintain the heritage handed down to us by our fathers,” and as its special work, the establishing in Auckland of an Emigration Bureau, through the medium of which emigrants of a suitable class will be sought for and assisted on their arrival. The "Victoria League” is so named in memory of Iler late -Majesty Queen Victoria. It is a non-party Association of British men and women. Its objects are -to advance the general interests of the Empire as a whole, and to promote and foster every movement calculated to effect a closer union between the Mother Country and the colonies. It receives and distributes Imperial information and assists with advice and hospitality' Britons from all parts of the Empire visiting Great Britain or the Overseas Dominion. The League also takes care of the graves of soldiers and others who have rendered service to the Empire. On Empire Day. Friday the 24th iiist., ft grand patriotic concert will be given in aid of the funds of these Societies. The artists appearing have given their services gratuitously as their quota to Imperialism, and a glance at their names will reveal the excellent programme which will be submitted to the public". The following Indies and gentlemen will f-ing:—Madame Wielaert, Madame Beatrix Markstedt, Mrs. Sutherland, Mias Mackenzie, Messi-. 11. Barry t oney, Olliver Farrow, and Wilfrid Manning, ■whilst Herr I’eeiiot-i h w ill give one of his celebrated violin solos, and Miss Eth'el .lay will be the elocutionist. Mr. W. T. sharp wdl play appropriate organ numbers, and the Birkenhead Musical F'rrciety and the Dominion Boy Scouts will sing choruses of a patriotic nature. His Excellency the Governor, who is patron to ln*h the societies, under whose auspices tlie concert is being given, has kindly signified his intention of living present. The following ladies ami gentlemen are the concert committee: —Mesdinner, Hope Lewis, Sutherland, Daw, J. J. Culpan: .Messrs. Horace IL.Hunt "(chairman), N. (ht'imek, J. G. Culpan; ills* Statham and Mr. J. C. Baine (joint secretaries).

Von Arx, Illusionist. ' A on Arx, the “ magician,” and illusionist,. opened, his Auckland season at His Majesty’s Theatre on Saturday night. Although a large number of his tricks lacked novelty, he possesses undoubted skill and dexterity, and goes to work in a quick, business-like style. Many of bis best illusions are cleverly carried out with the assistance of a lady, who appears and disappears at will, and, indeed, completely baffles the audience, even to the mail who is always ready to explain “how it is done.” The final illusion is particularly striking. The lady is tied up in a bag, and placed in a trunk which is locked and corded up. The trunk is concealed in a cabinet, inside which Von Arx goes also. In a few seconds the curtain is lifted to show the girl outside the trunk and the conjuror inside the box and bag, both locked and tied as before. An eccentric juggling “ turn” by George Murphy caused a good deal of amusement. Professor Dean gives an exhibition of burlesque hypnotism which can be taken seriously by those who wish to do so. He is assisted by several “ subjects ” who are all readily suscep-

tible to the influence of the Professor, and in addition show a decided ability towards comedy. The entertainment, with various alterations and additions, will be repeated nightly for a limited season. Stray Notes. The Kaiser is planning a new' operahouse for Berlin. His desire is that the building shall be simple in design, and not be overloaded with ornamentation. The present opera-house seats 1800 people, but His Majesty- wishes the new building to seat 2500.' At the Kaiser’s desire there will be a considerable number of places for sale at a very moderate figure. Mr. Julius Knight is appearing at the Repertory' Theatre in Manchester—the Gaiety'—and won tributes from the critics for his performance in a leading role in Mrs. W. K. Clifford’s play, “The Likeness of the Night.” The “Guardian” critic writes: —“No praise can be too high for Mr. Julius Knight. His performance was admirable throughout in tone and feeling, and technically a most finihsed piece of acting.’’ There have been about 2000 performances of “Charley’s Aunt” in London. Nineteen years ago the play was produced at the old Globe Theatre, where it ran .for over four yean-—the longest run ever enjoyed by a play in the West End of London, consisting of over 1400 consecutive performances. In the whole of the United Kingdom the play has been performed some 5000 times, and about five million persons have seen it. “Charley’s Aunt” bin been translated and played in every country on the Continent, and has even eapltired, the theatres in Japan. In Germany the Kaiser commanded two special performances. Taking the entire world, it io estimated that “Charley’s Aunt” has been played 25,000 times, and that about 25,000,000 persons have seen it. The J. C. Williamson firm has recently acquired, amongst other plays. “Milestones,’’ the artistic play written by Mr. Arnold Bennett in eolhiboration with the author of “Ki-met,” Mr. Edward Knoblauch, and produce I not long since in London. “Xightbbds,’’ the el ver adap lotion by Alias GJ-vlys Unger of “Die Fledcrrnatis,” will reach Sydney in June, at the Criterion. Mr. Fred Niblo and Miss Josephine Cohan (sister of Mr. George Cohan, the well known New York author and manager) have been engaged

for the Australian production of “Get-Rich-Quick Wallingford,” towards the end of the present year. This company will also play “The Fortune Hunter” and “Excuse Me,” which, like “Get-Rich-Quick Wallingford,” have had pronounced success in America. The last-men-tioned farcical comedy was written by Mr. Cohan himself, who is the author of most of the pieces in which he appears. While it does not take the shine out of the 1902 production, says the Sydney “Referee,” the revival of “Ben Hur” at the Theatre Royal claims recognition as an important theatrical event. Only in regard to the dressing of the religious melodrama was there an opening left for fault-finding. The stage costumes were richer and more “in tune” when “Ben Hur” was performed at Her Majesty’s. With insufficient time for the work of preparation in this department, the producers, Mr. Wybert Stamford and Mr. James W. Hazlirt, and the wardrobe mistress, Miss Emily Nathan, did all that could be reasonably expected of them. •Still the observant ones in the crowded audience must have noticed that lack of harmony in the colours and the jar-

ring modernity of some of the dress designs took off from the effectiveness of stage pictures which were otherwise admirable from the. spectacular point of view. On the principle of compensation ■the leading part was played in a much better manner than -i,t was played ten years ago. In a sense the brilliant personal achievement of Mr. Eric Maxon in the character of Beu Hur was the saving grace of the revival. - The young English actor who came to Australia with Mr. H. B. Irving dominated the performance, and won his laurels in the manner of an artist who has at his command, in addition to fire,.fervour, and feeling, the enviable quality which seems to surround an actor with . the atmosphere of romance in a romantic part. It was the union of the man and the opportunity. Within a few. days (says tlie writer of Musical Notes in the “London Daily Telegraph” of March 28th) London has given a welcome recently to three plan-, ists who have long been numbered among the giants of the keyboard. Their names are Sauer, Busoni, and Godowsky—we give them in the order in which the artists appeared, and not according to their respective merits in the view either of the public or of any individual. The question as to which of the three deserves to rank highest is one that only the greatly daring would answer offhand. Indeed, if the reply had to be dictated by purely technical considerations, very few people, even after mature > reflection, would care to supply it. And who. to take an even knottier problem, would venture to lay down an emphatic opinion as to who is the greatest living pianist ? Our thoughts are directed to the question by seeing the statement at-

tributed to Mr Sauer that, to his mind, Josef Hofmann is “the greatest pianist in the world to-day.’’. And the older pianist is further credited with the opinion that it is only Hofmann’s want of personality and laek of “long, flowing locks” that prevents the public from recognising his claim to that exalted position. It must bo some years sinee Hofmann played in this country, where, indeed, he is chiefly remembered as a prodigy of quite extraordinary powers. But that was iq the eighties, before wonderchildren. pianrstic and otherwise, becanx, a glut in the musical market.