MUSIC NOTES.

New Zealand Illustrated Sporting & Dramatic Review, Issue 1379, 28 September 1916, Page 34

MUSIC NOTES.

(By

“G” String.)

Messrs. Chappell and Co., Limited, of 235 Flinders Lane, Melbourne, and 50 New Bond Street, London, W., have just published a song that would be eminently suitable fcr a bass or baritone singer entitled “Be Well Assured.” It is a spirited setting in a nautical vein of verses from Rudyard Kipling’s “The Fringe of the Fleet,” the music being by Edward German. The song is intended “to be sung as though spoken,” thus partaking of the nature of a musical monologue. “The Waltz We Love” (“Le Valse quo nous Aimons”), by Armand Vecsey, is a captivating number, and should prove an acceptable addition to the music of the dance-room.

Mr. Maurice D’Oisly, one of the principal tenors of the second Australian tour of the Quinlan Grand Opera Company, and Mr. Frederick Blarney, who visited New Zealand as one of the tenors of the Bel Sorel Grand Opera Company, are in the Imperial Reserve for active service. The two tenors, together with Mr. Frank Mullins, another tenor, who is also on the reserve, are now members of the Beecham Opera Company.

Opera and “abstract” music have their distinctions. Musicians do not always agree as to their relative importance, or to placing one beside the other as a form of art. Here is the standpoint of Leoncavallo, who recently said: “It is all nonsense about making a theatre a temple of music. People go to hear operas for amusement, for joy, to have sensations. They do not go to worship. They want melody. Music without melody is good for concerts and instruments, because then the public is different, and is willing to think. Thought is all right in instrumental music. German music is all right. But an opera public is different.” Leoncavallo’s latest opera, “Mameli,” was written in six months. This statement occasioning some surprise, the composer ejaculated, “Sicuro, I work fast. Every morning I get to work at 7 o’clock, and do not stop until 1. That is much work. ‘Pagliacci’ was written in four months. I write fast, easily. It comes easy to me.” Leoncavallo's embracing patriotism is not without its heroic side. Before the war he was the favourite composer of the Kaiser, and was made much of at Berlin. For the Kaiser he even wrote an opera, “Rolando.” But when came the news of the destruction of Louvain, Ruggero Leoncavallo protested openly and condemned the act, and irretrievably lost favour at the German court.