MUSIC NOTES.

New Zealand Illustrated Sporting & Dramatic Review, Issue 1262, 25 June 1914, Page 37

MUSIC NOTES.

(By

“G” String.)

Great visiting singers have frequently visited New Zealand during the past decade, and there have been many fine pianists, but the visits of great violinists have been few and far between. There are two or three names that are world-famous as virtuosos—Kreisler, Ysaye, and Mischa Elman. The two former have never been to New Zealand, but the base of this triangular greatness is due to open a tour of the Dominion in His Majesty’s Theatre, Auckland, on Monday, July 13. During his stay in the Northern City the celebrated Hussion violinist will give two concerts, the second taking place on Wednesday, July 15. Mischa Elman has justly earned the title of being the guperman of the artistic world. The

depth of his interpretations, the dazzling brilliance of his technique, and the wonderful spell he casts over his audiences, are among the most remarkable achievements of any great figure before the world of music today. Some of the- finest players of the world made history by interpreting their own compositions, but Elman came along and imbued the creations with newer and deeper meanings. Many great men played Tschaikowsky’s Concerto before Elman arrived, but it was not until he played it that the greatest critics of the day discovered a fresh and fuller message. By last week’s English mail came to hand a parcel of the latest publications of Messrs. Enoch and Sons, the well-known music publishers of 11 and 14a, Great Marlborough Street, London, W. “Songs of the Siren” (a duet for soprano and mezzosoprano or tenor and baritone), words by lan Malcolm, music by Edward Murray, will assuredly attract by reason of its equally-balanced metrical flow. “I Looked Out. Into the Morning,” words by James Thomson, music by Herbert Goldstein, is a melody of a serious character, set to poetic words. “The Bay of Memories,” words by P. J. O’Reilly, music by C. Finucane Draper, moves by reason of its distinctly appropriate setting, the music being an exact reflection of the charmingly simple verses. “Because I Care for You,” words by Tom Heffer-

nan, music by H. Sullivan Brooke, is a sentimental song of an attractive character. “Quatrieme G'avotte,” for the piano, by Madame C. Chaminade, is a tunefully-learned piece of music with running passages that ought to form an excellent study for young pianistsl. “Rose Way,” a transcription of Leoncavallo’s famous song by George H. Clutsam, is effectively harmonised, and ought to become popular in the ballroom. “A Tango Dream,” by Elsa Maxwell, is a graceful composition. The “Yvonne” valse, by Yvonne Arnaud, is a composition that grows upon the ear by repetition. The change of style for the second themes is also very effective. Four songs under one cover, entitled “Over Land and Sea,” are from the pen of Edward Teschemacher, the music being by Russell Wargrave. “The Open Door” is a joyous ballad; "Down at Dooney,” is gay and spirited; “A River Song” ought to win acceptance; and “A Deep Sea. Chantey” is a cheery song that is worth more than passing mention. Nos. 17 and 18 of Enoch and Son’s Choral Series are “Life’s Lullaby,” words and music by Gerald Lane, and “A Bird in The Hand” (“The Three Maids of Lee”), words by Fred C. Weatherley, music by Joseph L. Loeckel. At the annual meeting of the New York Symphony Orchestra, which was held a few weeks ago, Mr. Harry Harkness Flagler, in. addressing the members, said: “During the years of my association with you in this work, my interest in it has steadily grown, and I have given much earnest consideration to musical conditions in New York and to the future of the Symphony Society and its place in the community, with the result that

I take pleasure in offering personally to defray the deficit of the Symphony Society for the future, beginning from the Ist May, 1914, for which purpose I am prepared to set aside yearly an amount which will ensure the continuance of its work on the highest artistic lines, and allow for future expansion should that seem desirable.” It has been stated that the annual deficit of Mr. Walter Damrosch’s orchestra has been somewhere between 50,000 and 60,000 dollars, which has hitherto been met by a group of twenty-eight subscribers, and Mr. Flagler’s handsome offer, which came as a complete surprise to the Society, will relieve the guarantors of a pretty severe incubus. Almost unheralded, a new work on the largest scale by the greatly gifted Dr. Vaughan Williams, entitled “A London Symphony,” had its first hearing at the Queen’s Hall, London, last month. According to the “Daily Mail,” many passages in this fine work are eloquent of the sterner side of London’s mighty poverty, such are the solemn, veiled opening of the slow movement and the harsh energy of the opening of the finale. Gay London is represented by ragtime ditties in the first, movement, which are perhaps unnecessarily trivial. Stravinsky’s influence is often perceptible, notably in the mouth organ imitations in the amusing Hampstead Heath scherzo. Melancholy street vendor calls are used with poetic effect in the slow movement, which is one of the noblest symphonic pieces in modern English music.