Music and Drama.

New Zealand Graphic, Volume XLVIII, Issue 16, 16 October 1912, Page 13

Music and Drama.

By

BAYREUTH.

BOOKINGS.

(Dates subject to alteration.) HIS MAJESTY’S, AUCKLAND. October 14 to 26—I’limmer-Denniston Co. October 29 to November 9—Auckland Amateurs, "The Mikado.’’ AUCKLAND* TOWN HALL. Ortuber s—Tiny Town. October 19—Herr Ilaimund Peehotseb Concert . AUCKLAND PICTURE SHOWS. The Eyrie Theatre, Symonds Street— Nightly. Royal Albert Hall. Albert Street—Nightly. WELLINGTON OPERA HOUSE. October 19 to November 2 —Oscar AselieLily Brayton co. Fntnrist ” Music. EAST week at the Queen’s Hall, London, Sir Henry Wood conducted the first performance in England of the Five Orchestral Pieces of Arnold Schonberg, the most " advanced ” composer in Europe. The best commentary on the pieces, says a well-known English critic, is the fact that during their progress theaudicnce laughed audibly, and when they were finished there was a great deal of hissing and booing- In response Sir Henry Wood bowed, and there was applause and cheering—assuredly meant for him and not for the music. The composer is also a Futurist painter, and what a Futurist picture is to Raphael, Schonberg’s music is to Strauss. The writer continues : Imagine the scene of the bleating of sheep in “Don Quixote,” the Battle Scene in " Heldenleben,” the sacrificial procession in Elektra,” and the scene of the Opponents in “ Hcldenleben ” all played together and yon will have a faint idea of Schonberg’s idea of orchestral colour and harmony. As to theme or subject, it must be supposed that he would consider it an insult to be told that he has any traffic with such things. The pieces have no program or poetic basis. We must be content with the composer’s own assertion that he has depicted heartfelt sympathy, and he, on his part, must be content with that. He also says that the artist does not concern himself with what other people consider to lie beautiful, or the reverse—he only expresses what he feels to be necessary to himself to express. Of that, presumably, he himself is the only judge ; but the public has also the right to say whether it wants to receive such- confidences, and apparently it did not want 10. In Vienna,, it may be remarked, Ihe audience created a riot after hearing them. London thought the same, but expressed its opinion more peacefully. Madame Kirkby Lunn's Tour. According to advice received from Alessrs J. and N. Tait, definite arrangements have now been made for Aladame Kirkby Lunn’s New Zealand tour to commence at Auckland on November 25. Three concerts will' be given in this city, after which the diva will visit Wellington, commencing December 2; when another trio of recitals will be given. After the Wellington season Aladame Kirkby Lunn will sing at Wanganui, Napier, and subsequently at Christchurch, Timaru, and Dunedin. Actors and a Day of Rest. A big controversy is raging in England over an attempt to secure the opening of the ordinary theatres and music halls on Sundays. The picture theatres remain open on Sundays and now what. Airs. Langtry describes as a ** burning question” has arisen over the extension of the scheme to the theatres and music halls. The matter was recently dismissed at a meeting of the O.P. t'lub at the Hot el Cecil under the presidency. of Lady de Bathe (Mrs. Langtrvh Air. Cecil Raleigh made great piny with the point that upstairs in the hotel in which they were meeting music was being played, and possibly artists were reciting or singing, to- people who were HiUisfying tile needs of Uiein stomachs. If a nuui might feed- his body in public, then, in the name of- common-sense. let him alko feed his mind. If a man could go to Heaven after sitting out a. Sunday dinner, sundiy,,ha. argued. Im might escape perdition if he sat out “ Hamlet.’'

Six Millions at Sunday Picture Shows. According to statistics, the opening of picture palaces in London on Sundays yielded approximately £200,000 a year. Bearing in mind the low prices charged for admission, that sum meant that something like six million people paid for that form of Sunday entertainment. It was his contention that any public body which attempted to shut up picture palaces on Sundays would be kicked out at the next election. The theatrical managers said quite boldly that the lot should either be shut up or opened. He did not believe that a regular day of rest was needed by artistic- people, who worked only for a short period every evening. Ln their hearts they knew that Sunday opening was coming, but as reasonable people what rhey advised was to begin with no Sunday matinees and no continuance of regular run on Sundays. Managers should, however, be free to give in their theatres any such theatrical entertainment, as they thought might be suitable. The Welsh Eisteddfod. Without actual acquaintance with it no .•'.mount of literature eau convey to the outsider what the Welsh National Eisteddfod is really like or what it means to the people of Wales, says a writer in the “ Daily News.” Custom enjoins that the festival shall be held alternately North and South, not in any particular town, but wheresoever the Bards from time to time decide. This year it is the. turn of the North, with Wrexham as the venue. Before one Eisteddfod takes place it is necessary to have already chosen and proclaimed the place of the next. A year hence Abergavenny will be the Eisteddfod town. A long list would be necessary to mention all the names of Welsh- singers, instrumentalists, and com--posers who “ came out,” so to speak, at the Eisteddfod. The Modernists. Nowadays. there may not be the same anxiety to court the muses through the national institution, but popular interest in the annual event is as keen as ever. Time was when Welsh choirs carried every thing before them. It is not so today. Welsh music is in a state of transition, and the only hope of the Eisteddfod rests upon a steady development in obedience to modern ideas. Happily the omens are good, thanks to the progressive spirit of the younger men, among them Dr. Vaughan Thomas and Mr. Henry Evans. If anvone had dared to exclude Handel and Mendelssohn twenty or even ten years ago he would have been branded an enemy of music. A glance through the Wrexham programme reveals the significant fact that neither of the two composers figures in the lists. Here, indeed. is evidence of the progress so long desired. For the “chief choral,” the tests were Cherubini's “ Cum Sancto Sniritu,” from the 2nd Alass in D minor : Elgar's unaccompanied “Go, Song of Aline.” and “ Llais y Gwanwvn ” (J. H. Roberts.). In other days paltry descriptive choruses shared honours with hackneyed oratorio -choruses. The works chosen for the male voice choirs were Bantoek's unaceompn.iiied “ The Glories of our Blood and State”: ‘"V Ga.riad Gollwvd,” also unaccompanied I Vuislian Thomas) : aud " Deen Jordan's Banks” (Cvril Jenkins) : while for the “Second Choral” tire tests were “ Death. I do uot fear the-*’ (Bach); " On Himllrv.” unaccompanied (Bautock); an 1 vet another unaccompanied piece, by Emlvn Evans. Yet Another Dramatist. Mr. Harold Chapin-, whose “Art and Opportunity ” was- produced- last mouth at the Prime of Wales's Theatre, must be placet! among the voting men who are now doing such brilliant work for the stage, says Mr. E; A. Ihinghm. My. Chapin- can. write dialogue which, keeps the attentiai* itm-hained, and he has learnt the secret of surprise. Moreover, his cvmeilv is made fox acting. Never luvs Mis* Marie T’enniest to fully justified hen right, to- be* called the; finest comedy actress- of our modem stage. Her Pamline Cheveiwlte. the heroine of the piece, is* the finest ofi har many fine iwhievements —so »>*l»tla and refined, and spiritual.

“ Art and Opportunity ” is a difficult work to describe. lake all good art, it baffles analysis, for when you have analysed it, and have come to the conclusion that Mrs, Cheverelle’s character is not quite fully developed, the critical voice tells you that you have understood her from the first, and a character that you liave understood so well must have been sufficiently developed. A Human Paradox. The truth is, Mr. Chapin lias not underlined the motives of his chief character, but has let her speak for herself, and he is sufficiently master of his medium to have succeeded in this spontaneous dramatic expression. Mrs. Cheverelle is a human paradox. She has had an unhappy marriage, and intends to make a good thing of the rest of her life. Lord Algernon Gossamore falls in love with her, or she makes him think he has, and she is taken to Eftswood to receive the approval of the Earl of Worplesdon (Algernon's father), the Duke of Keels (his cousin), and Lady O’Hoyle (their aunt). Airs. Cheverelle’s weapon is a frankness which conceals the truth. She meets obstacles by giving way to them. Her transparency is like that of the jellyfish, a means to concealment. Her frankness disarms Lord Worplesdon,, and her eharm captivates him. Her acceptance of Lady O’Hoyle's idea, that she is overawed by the family and its traditions disarms Lady O’Hoyle, who had counselled the overawing “ trick.” The only one of the party she cannot influence is Henry Bentley, the Duke’s private secretary. He considers her a mere adventuress. anil in the end she takes care that he shall think her worse than she is, that liis r ret may be the more poignant. As to the Duke she merely terrifies him ; he is fascinated as a rabbit by a python. What is not explained but what we quite well understand is that she has fallen in love with Bentley, through first having been piqued by his aloofness. He makes her desperate, and when she sees that Lord Worplesdon is fascinated she throws over his son for him. But his lordship makes the mistake of assuming that Mrs. Cheverelle likes playing the transparent game, and he gets on her nerves. The Duke’s Mistake. Finally she throws him over, whereupon the Duke pathetically exclaims, "She is after me.” But she is really '• after ” the Secretary, and writes him a letter, in which she emphasises the fact that she is a beaten woman and he has won. That nettles the Secretary, who feels he has behaved like a brute. Airs. Cheverelle and he try to explain her motives in the light of the effect they have made. The effect of the letter has been to make him indignant, and highly interested in her reasons for writing it They both come to the conclusion that such an effect would be impossible if he did not love her, and’ so. this brilliant comedy ends. Its weakness is that the Secretary is not. explained. We believe to the very end that he looks on Mrs. Cheverelle as a mere adventuress. A little alteration or addition would remedy that weakness. Mr. Barrie's Titles.

Two new Barrie plays (according to American advices) are entitled “ The Ladies’' Shakespeare ” and “ The Legion of Leonora ’’—titles which are hardly informative. These are said to be Aliss .Maude Adams’ new possessions.

Robert Franz. When Robert Franz died on October 24, 1892, few people, even in musical circles, recognised the name in the scanty obituary notices which appeared in a few musical and German newspapers, and stilt fewer recognised the fact that the world had lost perhaps the greatest song writer since Schubert. It is n promt and high place to claim for any musician, in the faee of the great attention that has been devoted to the lied', since Schubert perfected it as an art form.

Franz (whose real* name was Cristopher Knauth) was boru at Halle in 1815. Up to his fourteenth year he showed no- indication that he might be destined for a musical career ; except that in school' an irresistible instinct bad .led him.—instead of singing in unison with the other children-to add an alto part to the melodies sung there. The discovery of a spinet in a relatives’ house filled' him with the desire to bevome a musician ; and he succeeded in persuading his father (against the

latter's wishes) to send him to studj under Friedrich Schneider for two years. During this period he produced many immature compositions, but comparison of these with the works of his favourite composers Baeh, Handel and Schubert infused him with such disgust with his own work, that he destroyed it all. For six years he wrote nothing. A Grand Passion. Franz was 28 years old when a powerful influence came to reawaken his creative energy. He fell in love with one <)f his pupils, but his love, which at first seemed likely to succeed, was not returned. Under the influence of his loss he composed the twelve songs which form his opus, but merely as a relief from his grief, and with no thought of publication. However, some friends persuaded him to send then r inspection to Schumann, who was so pleased with them that, he sent them (without the composer's knowledge or desire) to * publisher. Schumann's Aid. In publishing a reviews of these twelve songs, Schumann gave onee more an example of his generosity and unerring instinct for discovering genius. He pointed out that these songs mirrored the spirit of the new German school of poetry, then at its zenith, and illustrated the progress which the Lied had tirade since the days of Beethoven. " Genuine singers, endowed with poetic taste, are required for their interpretation,” he wrote ; “they are most enjoyable when sung in solitude and iu the twilight.” " Were J,” he eouctuden, " to. dwell on alt their exquisite details, I should never eoine to an end ; true music lovers wHI discover them for themselves.”

Unfortunately, though such praise as the above was meted out to these songs, pecuniary profit there was none. Franz continued to support himself by playing the organ at a local ehareh, by teacliing, and in 1859 was appointed musical director at. the University. But even of this means of livelihood he was soon deprived by a physical informity which gradually grew upon him. Before lie was 30. his nervous system and his hearing were impaired. In 1848, he was temporarily deafened by the whistle of a. locomotive, and, though Tiis hearing returned in a few days, the highest tones were gone, never to return. Gradually one tone after another, down the scale, vanished forever. He gradually became worse, till, in 1891, all but the first two lingers of both his hands wore para lysed, and he was stone deaf. Ho was saved from actual starvation by the generosity of his friends, led by the Leipsic publisher, Sander, and ably assisted by Liszt, who raised a sufficient sum, by benefit performances, to on able the composer to spend the rest of his days in material comfort. v " f death was for him a true release.

Franz and Wagner. Though they represented the extremes of the music of their day, ami wore practically strangers to one another, Wagner and Franz each had a very warm admiration for the other’s works. Franz’s, opus 20 is dedicated to Wagner, ami when Franz visited the latter in 1857, he w-as shown Wagner's musical library, which contained, besides the works of Bach ami Beethoven, nothing but Franz’s songs. Wagner delighted his visitor by singing and playing the latter's " Die Wiilmiing” and “.la, .In hist elend” —the last named being his favourite song. Another eontemporarv master whose appreciation gave gri-.tf joy to Franz was T.iszt. Many of the famous transcript ions of the master at* of Franz's songs, an*l he lost no op portunity of emleavo-uring to gain publi< appreciation of the art of their row poser.

A Master of Polyphony. In adslitiou to the vocal part of the songs of Franz being full of beaiitifn' glowing melody, the piano parts (quite as important as the vocal, as in all great Lieder) are nearly always polyphonic: that is, imdodious iu every part--in tlie bass and the middle parts, as well as in the treble. For a parallel to these Hongs, in this respect, we can go only tn the scores of Baeh and Wagner. Franz spent many of the best years of his life in writing what are earled •‘■additional accompaniment*’*’ to Baeh and Handel songs; and thus his mind l>e*mme thor oughly saturated with their styles. Uhorales were also regularly sung at his home every day, and he hoard anj played them at church, until they became at

most a part of them. Besides these (influences, or perhaps through them, the traces of the church inodes in the works of his favourite composers had its effect on his own work. Many of his works are written partly, and a good nuinher wholly, in these inodes. In this respect he anticipated the modern French school of composers, who, of course, follow in the footsteps of Cesar Franck. There is no record of Franz having met Franck ibut the two had very much in common. A Modern of Moderns. It must not be inferred, however, that I'ranz is in any way a. reactionary, notwithstanding the mediaeval features in his music. He’ recognised, what is now generally admitted, that the music' of .Bach is really romantic, though he speaks in the language of the classical school. The peculiarity of Franz lies in this — that, while he absorbed this old romanticism more completely than anyone else, he was in other respects a modern of moderns. Songs like ‘*Nu M'ai.” f, l)er Schnee ist Zergangen,” i: Rastlose Taebo,” and “Mecrfahrt” show how carefully he had studied the pianistic idiom of Chopin, (‘hopin taught him the use of scattered <>r broken chords, the tones'oT which can be united only by the aid of the pedal, the result 'being ravishing new harmonies and tone-colours. In Franz’s songs, the pedal is as absolute a necessity• as it.is in Chopin’s piano music; and in every case its use is indicated with extreme A Life’s Work. (Like Chopin, Franz found his medium early in his career, and resisted all temptations to experiment outside it. So ive find that, apart from his “additional accompaniments” io Bach and Handel, •his life’s work consists of two hundred find seventy-nine songs. Among these rthere are fewer mediocre ones than Amongst those of either tSchubert or Schumann. Franz not only threw his tarly efforts into the fire, but throughout his life, like Horace, kept his productions in his desk for y ears, taking them out now and again, and retouching •them again and again before publishing •them. 11l us, as he himself says, a critical consideration of his artistic development is rendered impossible by his method of revision: ‘’My opus I 1 con aider no better ami no worse than my opus 52. Amonf’' all’ I lie collections there arc onfy three;, (pp. 23, 27, 33) which were published soon after they had been written' Tn all the other®, old and new songs are .mixed up.” It is unfo.rtunair that, in New Zealand, Franz's songs are not eroy to come by. A few air to hr found H albums of songs. Mr Bayer Iz has published several from time to time, and it is sonntiim« possible io get Ayoner’s album. This contains several of the best, such as “Bit to,” ‘’Fur Mu>ik,’’ “Widrnung,” “Auo meinen grossen Svhinerz.cn,” and ‘’Das Meer hat seine Perlon.” But few of his isongs are without great 'interest, and the best of them reveal iipu beauties at every rendering. These b ’antics, readers (must find fur them-elves al first hand. Music and. Mammon. Some time ago an entvrpri-ing London weekly conducted a symposium with a view to finding out whether we owed the best work of our greatest, writers to iiie hardships through which they, had passed. It is a. question about which it is difficult to dogmatise. On the one hand we have the num who is enabled to give us good work (because he enjoys a small competence; on the other, the man (whose, bit ter experiences seem to have a refining influence. The history of music is (he story of poVerty, o'f innumerable privations, of starvation,' ami neglect. The realh great man often rises above all this. Baffled by circumstances he retreats into a world of his own, where he can sing the livelong <hiy. With few exception, the great composers were poor men. |y the main the development of music took place at the hands of men little burdeiu’d with worldly goods. So wo may well say with Balzsu* that poverty is a crucible from which great talents emerge as incorruptil»le as diamonds. Two Wealthy Musician*. It must 1h» urged that the presence of ►<» much talent among the comparatively poor seem* to prove that the link between mu-ic and the folk i- very strong. Doubtk’Sb the art oac- a great deal to patrons of weiltli and leisure like <Tiri-tiau Ludwig, Mugraifof Hraudenburg, and Count Esterhuzy though there is something to be said •gainst an artist being a nobleman’s factotum. But. keeping in mind the opportunities for travel and culture which

riches bestow, it is curious that so few compositions of permanent value have been left by those placed in comfortable circumstances. The names of Mendelssohn and Meyerbeer are notable exceptions. Both of them were hard workers, notwithstanding t-he fact that they belonged to rich “families. We’ are, perhaps, too near to them yet in point of time to judge of the enduring qualities of their works. Mendelssohn was graceful and polished, if hardly ever deep. Meyerbeer, in spite of many defects played an important part in the develop ment of opera. Whether more can lie claimed for them than this must be decided by each according to his taste. The very fact that these are the two outstanding examples of song and wealth accompanying one another seems to prove that the connection between music and la haute finance is not very close. In the present time the two are united in the name of d’Erlanger. The Snccess of Poverty. ‘‘Out of my infinite woej 1 make my little songs," says Heine somewhere; and in no form of art is this truer than of music. The. deeper note, the broad sympathies, come as a result of a practical acquaintance with the hardships of existence. A. modern critic remarks that destiny withheld from Liszt every success 'but that of poverty. The phrase is arresting. It makes one think of 'Schubert's confession that the works of his which had most impressed the public wore those which hail cost him the greatest distress. In the same way tlrieg talked of some of the best pages of his music having cost him drops of heartblood. 'This means that from out of the great chaos and struggle comes the great victory'. Perhaps it is because the leisured classes seldom meet with adversity that the music of the man nourished in wealth and comfort seldom survives. People of rank often find themselves at the mercy of fashion. They are expected to do a great number of things, and an interest- in art which is accompanied by an interest- in travelling, hunting, diplomacy and social affairs has little chance of. gaining profundity. It is hardly surprising, therefore, that musical biography tells more of the struggle in the attic, of the bare cupboard and empty purse, than of the ease arid luxury of the ‘baronial hall. To the., serious artist Hie commercial man is immersed in things of a- day. He is a figure to be smiled at, or treated as Le Sage treated him in his satirical comedy, “Tur Wealth and Technique. There are, of course, examples of elever men whose work shows a fino technical equipment. They have been able to acquire this by 'being free from financial considerations. This kind of music is often charming, and sometimes strong only on the technical, side, but, as a rule, it lucks humanity. The music of Glazounov seems to me to be that of a rich man. But, surely, the human note is the most valuable quality in music. It is the presence of it in their work that constitutes the greatness of Bach, Mozart, and Beethoven. It is only too true that the most inspired writers have often been worried by troubles about money For the composer who must look within is often separated from the bustling world. He lives with thoughts which many' cannot understand. We are therefore not surprised when we arc told that our musical salvation must come from those who are too poor to take lessons. And we can only' wonder with Bjornson’s heroine why it is that good men arc so often martyrs. Auckland City Organist. Mr. Maughan Barnett, Wellington Cit y organist, has been’offered and has accepted the position of city organist, at Auckland. - , Speaking to a “New Zealand Times” reporter on Monday on his acceptance of the post of City Organist at Auckland, Air Maughan. Barnett said: -‘’Whilst of course regretting to leave Wellington, I felt 1 could not reject the offer made to me. The work 1 have undertaken in Wellington city—organist-conductor of the municipal orejrestra, organist of St. John's Church, and conductor of the Koyal Choral Society, besides my' own private duties- has become so strenuous that 1 doubt very much whether 1 could have kept al it all for any length of time. 1 have been going pretty hard, and it is possible that I would have had to relinquish some of my engagements. In ■any case, it is really very difficult to know what particular part of one’s work to give up unless you give up the lot by a change of location, normally. When one has been in a place such a long time

as eighteen years, and with such a band of enthusiastic supporters as I have had,it will be a severe wrench to leave Wellington.” • - ■ . . Mr Barnett’s departure will be a distinct loss to Wellington, for more than any' other resident musician, perhaps, has he identified himself with the musical life of the city. The enthusiasm and energy he has put into all his work, whether a« city, organist, leader of the municipal orchestra, or conductor of the Koyal Choral Society, have had their effect on those-' under him, vMth the result that he invariably achieved success in what iie took in hand. Mr Barnett, who studied under Gustave Finest and Frank Spinney, left’ England for health reasons after fulfilling the duties of organist at King Charles the Martyr, Tunbridge Wells, and St. Alary Magdalen. St. I.eonard’s-on-the-Sea. He first appeared as a pianist at Burlington Hall. London, and afterwards in concerts at South Kensington and the Provinces. His last concert before leaving England was with the Hun garian violinist, Tividas Naehez. He was for three years organist at th? Hobart Cathedral, and opened the new organ at the Launceston exhibition. • Mr Barnett was in charge of the music at the laying of the foundation stone of Hobart Cathedral chancel and tower, for which ceremony he composed the anthem. In 1893 he became organist of Napier Cathedral, Hawke’s Bay, and two years later came to St. John's, Wellington. The Pechotsch Concert. Herr Kaimund Pechotsch will give a grand concert in the large Town Hall on the 19th of October, next Saturday. In making this announcement, it may be remarked that the name of Herr I’echotseh as a teacher of both violin and voice is a household word in many Auckland homes, and musical circles generally. Subsequent to a most successful career in London, the provinces, and latterly. Melbourne and Sydney, this clever virtuoso arrived in this Dominion at the beginning of last year, and has since resided in Auckland. It is.interesting to note that he first visited these shores twenty years ••go as solo violinist to the famous pianist. Henry Kowalski, who at one period was Herr Peehotsch’s master for the pianoforte for five years. In short, the career of Herr Pechotsch provides attractive and reminiscent reading. At. a very early age—in facE during his sixth year—his talents as. a musician began to make themselves manifest, and, after passing through the various stages of hard work which count so much in the maturing of a thorough musical education, ami the fulfilment of the. art by which it is assured, he won an instantaneous success wherever he appeared on the concert platform. When in London he played at all the principal concerts, and in the provinces, with numerous successes, and was associated with the best artists. Also, for two years he was musical director and composer at the Lyceum Theatre, London—the historical playhouse of the late Sir Henry Irving’s fame—and bis compositions, especially for violin . and piano, are many. During the past he has been associated with, and under the tuition of, such great artists as Professors August Wilhelmy, Hellinesbergcr Kruse, Eduard llerncnyi, Wgnbr Ranclegger ( the great, singing master ), and Signor Foli (the great English bas»o). When in London lie was Professor Examiner at the Guildhall School of Music, Professor London Academy, London College of Music, Hampstead Conservatoire, and professor for two years to the Marchioness of Bute's family. Further, Herr Pechotsch has had the honour of playing before royalty, viz.: His Serene Highness the Prince of Saxe-Weimar. One morning when Herr Pechotsch was giving Lady Margaret Stuart—the only daughter of the Marquis of Bute—a singing lesson, the Princess Christian came into the room and played the piano accompaniment. At the forthcoming concert. Herr Peeliotscb. will introduce some new talent to Auek land, and altogether 45 of his pupils will take part. Although Madame Pechotsch has never sung here, she lias had a wide experience as a solo-vocalist, and has appeared on the concert plat form with some of the leading artistes of the day, including Madame Crossley. One of Madame Peehotseh's teachers for two years was the celebrated American contralto, 'Madame Belle Cole. An excellent and artistic programme lias been arranged, and will comprise, among a choice selection of items, vocal solos, ducts, trios, quartets, and part songs by Herr and Madame Pecliotseh’s pupils. Herr Pechotsch will himself play Bach's Prelude and Fugue in G minor, and Harold Gregson will .preside at Hie grand organ.

while Mr. Leo. Whittaker has bests chosen as the accompanist. In .conclusion. it may be mentioned that at the competitions recently held here. the pupils of Herr and Madame Pechotsch secured sixteen prizes. It is quite evident that a rare musical treat is in store, and all lovers of the art would do well to secure their tickets' which ate now on sale at Messrs Wildman, and Arey’s, Eady’s, Miss Campion’s, and -IT.' Cleal, tobacconist’s, Queen Street. This will prevent disappointment as the attendance at this fine concert is sure, to be very large. Popular prices will be charged. Mrs Forsyth’s Recital. On Tuesday. October 22. in the concert chamber of the Town Hall, Mrs. <!. C, Forsyth's dramatic students will give an entertainment. The programme will include selections from Shakespeare and Sheridan, sketches, monologues and an attractive little comedy “Grannie’s Juliet.” West’s Pictures. A big feature of this week’s programme at the Koyal Albeit Halt is a fine, dramatic .film entitled “ The Platform of Deatht.” The sensational story which it unfolds deals with a circus tragedy of extraordinary interest. It is to be seen only at the Koyal Albeit Hall where it forms one of the leading features of a programme of excellent all round merit. Lyric Theatre. The big feature of the new programme at the Lyric Theatre is “ The French Spy," a splendid dramatie film, which is

being shown exclusively at tiffs theatre. It should prove a big draw, especially as the balance of the prograinnime is well up to the high standard wliieh the public have eonie to associate with this popular place of amusement. Nobody's Daughter.” “Nobody’s Daughter,” with which tho Pliinmer-'Denniston Company opened a thirteen-nights’ season in Auckland, is a pleasant, though not remarkable, play, which contains ample though often conventional dramatie power and pathos enough and to spare for all those who delight in having their sympathies raised. A lot of sound sense is introduced by means of the moral lesson which the author has striven to illustrate, and no doubt, as the advance agent says, "it will make the people think.” Damp eyes were frequent in the audience, and for this reason alone the play will make a strong appeal to a big class of theatre-goers. The company itself is a good one, and one looks forward with pleasure to seeing them again in plays of greater dramatic merit than the piece under notice. Generally speaking the acting was good, and if there was a tendency to drag, particularly in the last act, it must be said that the fault lay rather with the author than the players. Praiseworthy mention must be given to the good work done by Airs. Robert Brough, Mr. G. S. Titheradge, Air. Harry Plimmer, Aliss Tempe Piggott, and Aliss Beatrice Day. Aliss Lizette Parkes has given high expectations of her ability in past performances, ami they were realised in the present piece, She. played with a girlish winsomeness and charm that added very materially to the success of the piece. The staging wtis good, and, taken altogether, one does not need to be a skilful prophet to predict a successful run in Auckland for “Nobody’s Daughter.” The run of this play will terminate on Saturday night and will he succeeded by Oscar Wilde’s brilliantly intellectual plav “A Woman of no Importance.” The sparkling dialogue, brilliant epigrams and scintillating witticisms, together with its thrilling dramatic plot, have made for this play one of the greatest successes of recent years. As t !, e cynical and hardhearted man of the world Lord Illingworth, Air. George S. Titheradge will present a character that is generally recognised as one of his very greatest achievements. This representation by Air. Titheradge was originally created by him and is a role with which his name will always be associated. “ A Woman o< no Importance” will be staged for four nights and will be followed by “A Village Priest ” on Friday, October 25, for. a.three night season. The box plans are at Wildman and Arey’s, day sales at Martclli’s.

Auckland Operatic Society. Rehearsals for the Auckland Operatic Social v’s production of "The Mikado” at Hie Majesty’s Theatre on October 30th are well forward, and there is every pr omise of an excellent performance. There will be a full chorus of 70 performers.

John Mac Cormack. Messrs J. and N. Tait announce the

for a concert tour of Australia and New Zealand next year. Air AlacCormack will reach New Zealand about December, 11)13.

Stray Notes. Air Arthur Bourehier has a taste for ihe grim as well as for the dramatic in his variety productions. Jn the “Grand Guignol” play, “ Seven Blind Men,” wliieh Im staged at the Palladium recently, the blind workers at an industrial institution • ire locked in a room on the top floor by the foreman, against whom they have a grievance. In the distance the lire alarm is heard. It grows louder and louder ; and the blind men, in their terror, imagine that the building is on lire. They rush for the door —for the windows ; but they are hampered by their blindness, and escape is impossible. In the mad strug

gle some are killed. The rest beeoi raving mailmen. And there is no tiro.

London has discovered a new dramatic writer, Frances Al. (jostling. who ought to do somethiibg distinguished in the li’ture. She his already composed two things, " The Third Time” and “The Lips ol La Santerelle.” which wore powerful enough to give the critics the “creeps.” 1 he first effort, which personalised Death tn the Mueterlinekian manner, and was f|'dl oi mysteriously-opening doors and unshed conversation, made a great impression when tried at Clavier Hall, T*ndon, recently. The second playlet was even more thrilling. It treated of a gipsy husband, who, in the net of kiss-

ing a faithless wife, slowly strangles her, what time her anguished friends are beating a sort of requiem rat-tat on tile outer door. The authoress of these two plays has an odd and compelling sense of the dramatic in life, and her painstaking efforts to picture realities lead to some convincing revelations of motive and character. Allie. Gaby Delays, whose name was mixed up with that of the dethroned King of Portugal, made her first appearance at the Palace Alusie Hall, London, on August 26, in a musical sketch, the story of which concerns the love entanglement of a pretty Parisienne, an elderly admirer, and a young lover. Associated with Allie. Deslys was Air. Harry Pileer, an American dancer. The Palaeo programme included Annette Kellerman and company in “Undine.” Air. Julius Knight is returning to Australia. Tho popular actor was engaged in London by Air. Williamson. He is to appear in two new plays —"Milestones” and "Bella Donna,” J. B. Fagin’s dramatisation of Kitchen’s novel of tho same name. Present arrangements indicate that Christmas time in Sydney will see the start of the new dramatic company headed by Air. Knight.