MUSIC NOTES.

New Zealand Illustrated Sporting & Dramatic Review, Issue 1151, 9 May 1912, Page 18

MUSIC NOTES.

(By

G. String.)

By last week’s mail I received from Messrs Chappell and Company, music publishers and pianoforte makers, 235, Flinders Lane, Melbourne, 50 New Bond Street, London, W., and 41, East 34 th Street, New York, a packet of their latest publications. The following six songs I can confidently recommend:—“My Message”

is a dainty little song, the words being by Julian Gade and the music by Guy d’Hardelot. “I have A Rose,” No. 1 in D Flat, No. 2 in E Flat, No. 3in F. The words are by Gwendolen Paget and the music by Hubert Bath. “Little Brown Bird” is from the pen of Helen M. Nightingale, music by Teresa Del Riego. “The Admiral’s Yarn” is a rollicking sea song by Fred E. Weatherly, with music by Paul A. Rubens. “All Mine Alone,” No. 1 in B Flat, No. 2 in C; the words and music are by H. Lyall Phillips. “Look Down, Beloved,” No. 1 in F, No. 2 in A Flat, No. 3 in B Flat, the words being by Gertrude McDermaid and the music by Dorothy Forster.

As I have stated on several occasions, the Wellington music-loving public love to get their music, but it must be cheap; in fact, it must be given away. The municipal orchestra, under the conductorship of Mr Maughan Barnett, gave another of their high-class concerts in the Town Hall on the evening of April 30 to an audience so small, that Mr Barnett felt called upon to make a strong protest as to the apathetic manner in which the concerts were patronised. In the course of his remarks, he said “that so far as he personally was concerned this work was a labour of love, and had been undertaken entirely with a view of supporting the effort to supply what, at the time the concerts were started, was felt to be a great want in Wellington—the opportunity of hearing orchestral compositions, including such standard works as were within the capacity of the orchestra, and also music of a lighter Kind, so that other people might be swindled into coming to like classics. He was quite prepared to do a great amount of work, but not if he found the people disinclined to support him. He had no hesitation In characterising the support given to these concerts as a perfect disgrace to Wellington.” The sooner Wellington’s music lovers get a “wriggle” on the better it will be for its “hot-air” reputation.

The production of Boito’s “Mephistofele” at the King’s Theatre, Edinburgh, by the Carl Rosa Opera Company (which I referred to in my notes a fortnight ago), attracted a crowded attendance, who gradually became enthusiastic, and at the close called for all the principals concerned. Boito’s version differs materially from the many composers who have presented Goethe’s legend, for whereas Mephistofele is usually the hero, Boito endeavours to make Faust and Margaret the central figures. Another departure is that Boito makes Good eventually triumph over Evil, and Faust at last wins pardon and salvation. As on its first production, the work, ’tis said, suffers from its inordinate length.

A woman whose husband knocked her down for playing “God Save the King” explained it to the magistrate on the ground that he was a Socialist. Perhaps it was their social half-hour; or, perhaps, after all, he was a musical critic.

Madame Emma Calve has decided to make her permanent home in San Francisco. That will be in three years’ time, when her contracts for

professional appearances expire. She intends opening a studio in the Californian capital.

Mr John M’Cormack, writing to Mr H. N. Southwell, who managed his concerts in Melbourne, Sydney, Wellington, and Auckland, dates his remarks from San Francisco while in the first stage of his American tour, which closed on April 5. So far phenomenal results were recorded. His letter is scented all through with its fragrance of worship of Australia and New Zealand, their straightout hospitality, love of sport, and their warmth of himself, and he lets his pen go free, and states he will not be happy until he comes back.