MUSIC NOTES.

New Zealand Illustrated Sporting & Dramatic Review, Issue 1365, 22 June 1916, Page 34

MUSIC NOTES.

(By

“G” String.)

By last week’s mail I received a parcel of music from the well-known publishers, Messrs. Chappell and Co., Ltd., of 235 Flinders Lane, Melbourne, and 50 New Bond Street, London, W. Under one cover are “Two Little Southern Songs,” the words being by Fred. G. Bowles and the music by Montague Ring. The first is a “Kentucky Love Song,” charming in the rhythmic figuration of the accompaniment and in its melodic contours which are “doubled” in the pianoforte part, and enriched with sweet harmonies of thirds and sixths. The second is entitled “June in Kentucky” and is a well-contrasted poetic songlet, flowing along with a grandiose phrase. High and low. “My Little Red Rose,” words by D. Eardley-Wil-mot, music by Hermann Lohr, is an admirable piece of work, though there is not the same freshness and thought about it as displayed in some of this composer’s other work. In D, E flat and F. “Sunshine and Cloud,” words by William. Akermann, music by Hermann Lohr, is an old

theme pleasingly and touchingly treated. In C, D, and F. “Love Laughed as he Ran Away,” words by Julian Gade, music by Montague F. Phillips, is a good example of this composer’s work, which is always characterised by freshness and originality. In F and G. “Wait,” words by Arthur L. Salmon, music by Guy D. Hardelots, is an artistic composition. In E flat, F and G. “Enfant Au Front Divin” (“Little Child From Heaven”) is a pleasing setting of Louise de Clercq’s verses by Cath. Van Rennes, the English words are by Adrian Ross. The verses depict with loving tenderness the happiness of the young mother. In F and G.

In Italy, despite the war, the 100th anniversary of the immortal “Barber of Seville” has been celebrated by special performances from far away Udine to Milan, from sleepy Pesaro to Torino, from Venice, wrapped in gloom, to Genoa. In an April number of “Cultura Moderna” the story is told of how Rossini was received at Vienna in 1882, when he gave a supper in honour of his newly-wed-ded wife, Colibran, the prima donna. During the banquet the crowd outside called for songs, and the composer sang the duet from “Armida” with his wife from the balcony, adding “Figaro la, Figaro qua,” and then retired, and put up his shutters. Thereupon, by way of gratitude, the “gay Viennese” smashed his windows! In reading this one has to remember, perhaps, that Austria and Italy are still at war! The Wellington Amateur Operatic Society has now got its own rehearsal room in the Exchange Buildings, Lambton Quay. It is capable of seating 150 people, being also well appointed. The society has its own piano, and a serviceable wardrobe, which is carefully packed away in wicker baskets. The rehearsals of

“San Toy,” which is a particularly bright and melodious musical play, is progressing satisfactorily. The committee expects to announce the cast of characters shortly. A quaint story is told of Caruso. He had been singing in “Pagliacci,” and a New York critic, greatly daring, opined that the great tenor “was not in his best voice, though he has improved over his opening performances, and his Ridi Pagliacci was not the cry of yore.” After reading the offending words Caruso, it is said, “took a blue pencil and wrote across the article in large letters^‘liar!’ then signed it with his name, adding the well-known pigtail flourish.”