THE CHERNIAVSKY’S RETURN.

New Zealand Illustrated Sporting & Dramatic Review, Issue 1292, 28 January 1915, Page 36

THE CHERNIAVSKY’S RETURN.

All music lovers and the public generally will hail with the greatest pleasure the announcement that those wonderful artists, Leo, Jan and Mischel Cherniavsky are returning to New Zealand in February. They intend to make a quick farewell tour of this country prior to their departure for New York, where they commence their American tour early next season. 'I he Cherniavskys have worked together for about fourteen years, and the brothers are so responsive to each other’s thoughts that they have practically attained a kind of telephatic sensitiveness. They are having an exceptionally successful tour of Australia, and the way in which the University professors, the schoolmasters, the convents and other educational institutions have acknowledged their indebtedness to the young geniuses is perhaps characteristic of this progressive age. All those who aim at culture, and those whose duty it is to stimulate culture in Australia, have awakened to the great importance that music plays in the awakening of the latent intellectual powers of both the young and old. The result has been that the Cherniavskys have been overwhelmed with enthusiastic receptions everywhere. The New Zealand tour commences in Auckland. Leo, Jan and .Mischel Cherniavsky have engaged the youthful composer Frank St. Leger as their accompanist on th.s tour. Mr. Howard Edie will be the manager.

Madame Melba will probably return to England in March from her visit to Australia.

A concert programme forwarded to the “Review” from one of the boys at Egypt with the Expeditionary Force shows plenty of originality in its preparation. Popular contributors appear to have been the Wai'mana Orchestra, Messrs. Alexander, Barry, Haig, Hatherley, Easther, and Woolley.

“What’s in a name?” the Bard of Avon asked. If he had lived in these parlous times and possessed a name with a Germanic twang he would have more easily and wryly been answered. Th ■ Dresden Piano Com- , ’?y is a case in point. British in blood, British in make, and known for over thirty-two years as one of. the knest musical business combinations standing for all that is best in music and art in the Empire, it now finds that many foolish folk will connect the name with the hated German. This feeling of hostility to all things German has been strongly in evidence since the real character of our enemies appeared. Towns have changed their names, streets their cognomens, and people their patronymic, for sentiment plays so large a part even in business life. Such a widely-known name as “Dresden” in the musical trading world is a big asset to give up, but the English firm trading under that name has decided to relinquish this title, and in future to be known as the Bristol Piano Company. The stigma which has become attached to any name which reminds the nation of the ruthless and murdering German arouses antagonism in the public mind, and shows how people view the nameless horrors the German nation has sanctioned upon the Continent and used to overawe and destroy a brave and neutral nation. It shows how bitterly they reject anything which reminds them of the attempted German domination, so easily borne previously, so loathed in these days. The Dresden Piano Company, which has decided to change its name to the Bristol Piano Company, Limited, is parting with what really is a valuable asset, the name under which for thirty-two years they have built up a splendid business. When it is stated that the company is entirely British, it is the bounden duty of each and every born and bred Britisher to rally round the British manufacturer and demand British goods, and see that never again shall it be said that the English people preferred goods made in another land instead of giving support to the better article made within the confines of the Empire.