MUSIC NOTES.

New Zealand Illustrated Sporting & Dramatic Review, Issue 1458, 4 April 1918, Page 34

MUSIC NOTES.

(By

“G” String.)

An organ is being built at Philadelphia, U.S.A., which when completed will be the largest organ in the world. It will contain altogether 283 speaking stops. It is expected to be “a marvel of ingenuity and compactness,” and will contain many new features in organ construction. Until the instrument is completed Breslau holds pride of place for possessing the largest instrument —an organ of 187 stops. “Isabeau,” Pietro Mascagni’s new work, recently produced by the Chicago Opera Company, appears to have missed a success which it might have attained had the music been inspired by Luigi Illica’s strongly-contrived libretto. The plot closely follows the story of Lady Godiva. Isabeau, rejecting every suitor, enrages her father, King Raimondo, who wishes by her marriage to perpetuate the dynasty. During the famous ride the townspeople remain faithfully indoors, with the exception of young Folco, a poet, dreamer, and idealist, who rushes forth, peks the nude princess with flowers, and curses the perpetrators of the outrage. Condemned to the extreme penalty, Folco merely exclaims, “I am ready to die.” Isabeau accepts the whole incident from the poet’s standpoint, and for the first time falls in love. They pledge eternal devotion as he is led to execution, and the curtain falls. The opera was splendidly sung and acted by Rosa Raisa (name part), Giulio Crimi (Folco), and Giacomo Rimini in the baritone role of the king. The work was beautifully staged under M. Campanini’s general management. “Australian composers have a virgin page. Tradition does not set them with set formulae. They are free to exploit the technical and tonal resources of the world. Australia has traits which should lead to the evolution of characteristically Australian musical images.” These are the opinions of Henry Tate, who, in a brochure, briefly indicates the lines on which composers may work to bring about a “constructive school of Australasian music.” His scheme comprises a “deflected scale,” figure and melody developed from Australasian bird calls/ cadences, and chord progressions, derived from the “deflected scale,” certain contrapuntal features, and a special form. The chief feature —the “deflected scale” — is not new, having been used by European composers for some years past. But that should be no bar to a scheme that, while largely speculative, seems to be following natural

processes of development. The “deflected scale” is, in fact, a more natural basis for a work of modern cast than the old form of diatonic scale, especially in chromatic music; and, if the principles be extended, it offers great opportunity for variety of tonality. Much monotony results from old-style music on account of the adherence to the old scale modes. This would be obviated by the “defected scale,” but only so if the scale is kept free. Mr. Tate’s “deflected

scale” —one corresponding to the ordinary major scale, but with supertonic and sixth degrees flattened —is apparently only offered by way of illustration. Composers who are inclined to follow his lead will probably prefer to make their own scales in much the same spirit that they now choose the keys o! their pieces The other ideas Mr. Tate has are of considerable value, and he shows by musical illustrations how they can be worked out artistically.