MUSIC NOTES.

New Zealand Illustrated Sporting & Dramatic Review, Issue 1308, 20 May 1915, Page 37

MUSIC NOTES.

(By

“G” String.)

From the well-known music publishers, Messrs. Enoch and Sons, 14 and 14a, Great Marlborough Street, London, there came to hand last week another parcel of their latest publications. “November,” French words by Paul Bourget, English words by Helen Taylor, music by Edouard Tremisot, is of more than average merit, and may be recommended to the notice of vocalists who want simplicity combined with sincerity. No. 1 in C minor, No. 2 in D minor. “Look Up and Smile,” words by Edward Teschemacher, music by Julius Harrison, is a pleasing setting of graceful love lyrics. No. 1 in E flat, No. 2 in F, No. 3 in G. “Only For Your Sake,” words by Fred E. Weatherly, music by Herbert Goldstein M’atheson, is simple and melodious. No. 1 in E flat, No. 2 in G. “Pluck This Little Flower,” words by the Indian poet Rabindranth-Tagore, music by Landon Ronald, expresses the soul-lost devotion of some simple and shrinking heart. This song has been sung by

Madame Melba and Mr. John McCormack. No. 1 in F, No. 2 in G, No. 3 in A flat. “A Deep Sea Chant,” words by Edward Teschemacher, music by Russell Wargrave, is a fairly good ballad. No. 1 in C, No. 2 in E flat. “Rise, Beautiful Dawn,” words by Edward Teschemacher, music by Jack Thompson, is a pretty and melodious valse air that ought to prove suitable as a pantomime song for prince or principal girl. No. 1 in E flat, No. 2 in F, No. 3in G. “Joe, the Gipsy,” words by Hubi-Newcombe-, music by Robert Batten is a typical song of a rollicking character. No. 1 in B flat, No. 2 in C, No. 3 in D. “I Love Your Voice,” words and music by Elsa Maxwell, is a pretty valse snog. No. lin C, No. 2in E flat. “Golden Bird,” words by Edward Teschemacher, music by Haydn Wood, is inspired by the rapture of some enchantress of the woods. No. 1 in F, No. 2 in G', No. 3 in A flat. “We Sweep the Seas” (a British naval song), words by Marie Corelli, music by Frederick H. Cowen, is one of the best patriotic ballads published since the outbreak of the war, being simple and stirring, with a good march refrain. No. 1 in A flat, No. 2 in B

flat, No. 3 n C. A cycle of songs entitled “Songs of Open Country,” words by Helen Taylor, music by Easthope Martin, in freshness of melody and unaffected accompaniment bears very favourable comparison with the composer’s former essay, “Songs of the Fair.” There are two pieces for the piano, published separately, by that gifted and prolific lady composer, C. Chaminade, entitled “Ecossiase” and “Interlude.” No. 19 of Enoch and Son’s Choral Series is “Langley Fair,” from Easthope Mhrtiifs “Songs of the Fair.”

Latest news from America records the liquidation of the Chicago Grand Opera Company, which took place on March 1. The assets are quoted at 62,000 dollars, whilst 260,000 dollars are owing to Mr. Harold McCormick, money advanced for the- running expenses of the almost concluded season, and the star artists and others can claim 400,000 dollars for unfulfilled contracts. These figures will serve to remind opera lovers of the enormous cost which attaches to this kind of art venture. The directors will repudiate the contracts, however, on the ground of the war. The

only salary quoted is that of the general manager, and one-t’.me conductor, Cleofonte Campanini, who drew 40,000 dollars a year (£8000). It is now proposed to start again on a subscription basis of £2OO each from 1000 Chicago citizens, the £200,000 thus raised to stand behind the seasons of 1916 and 1917. The “Musical Courier” points out that such a capital will prove' insufficient. The opera has always cost £50,000 a year out of pocket, and the scenery and equipment now scheduled at £5OOO originally cost £fBo,ooo. Mr. Robert Parker, the eminent baritone, who is due to visit New Zealand shortly under the direction of Messrs. J. and N. Tait, tells in lively vein an anecdote of his first introduction to Royalty aftei’ leaving New York. Whilst attached to the Cologne Opera House he used to be in request for concert engagements on his off nights, due to the discovery by Steinbach, the celebrated orchestral conductor, who had been trained by Brahms, that the young American understood the interpretation of Brahms’ music. One of these concerts was in honour of Carmen Sylva, Queen of Roumania, and was given at the Neuw’ied Schloss, presided over by the Princess of Wied. This lady is the mother of the temporary King of Alban a, who recently fled from that turbulent principality. Mr. Parker was introduced to her by her chamberlain, and, havng bowed, remained silent. “Well, aren’t you going to say something?” asked the Princess, smiling. The artist replied that he could generally talk a great deal, but that he did not know court etiquette, whether to address her in the first person or the third, as “Royal Highness” or “Highness.” His hostess laughed heartily, and remarked in English, “Oh, nonsense. Just talk plain American, and call me Mrs. Wied.” For the rest of the evening, and on many occasions when she patronised his concerts, Mr. Parker scandalised court officials by addressing his new friend as “Mrs. Wied.” “Only,” concluded the artist ruefully, “all this sort of thing hasn’t prevented the Germans from forcibly annexing all my bank deposits!”