MUSIC.

Dominion, Volume 6, Issue 1770, 7 June 1913, Page 9

MUSIC.

re? Tekdle Clef/i A Now Idea. Scriabino's extraordinary composition, ''Prometheus," was recently performed at a Loudon Queen's Hall Symphony concert. In order that it might bo understood by the audience copious notes were given in the analytical programmo and tho work was played over twice. After all, this is no bad idea. It is surely too much to expect that tho average audience at a big orchestral concert should come away alter hearing a complicated modern ivork with any clear idea of what it is all about. Most musicians who are serious students of musio would welcome an opportunity to become moro familiar with n work which at first hearing sounds only strange and complicated, llowover, tho public as a whole does not go to an orchestral concert to bo instructed so much us to bo mystified—or, at least, entertained—so there is little chance of tho custom inaugurated by tho Queen's Hall .Symphony Orchestra becoming popular. Modern Russian Composers. "Rachmaninoff is perhaps tho most natural and sincere of the Russian composers. Then tliero is Scriabiue, who has written much really good music. Jle, too, however, has his failings, and, like tho modern Frenchman, writes much tint is only written for the sake of novelty, no has composed a new work, for which tho hall has to bo especially perfumed. 'As one listens to his symphonic poem ono inhales tho odour. Imagine music -which needs to be smelled! Of course this sort of thing is all.right as long us tho novelty lasts, but when it wears away what remains? "Glazounoy is ono of the modern Ru66ions with whom I am not much in sympathy. Ho is a great musician, and knows the business of his art thoroughly, but that is all. His music is too heavy. "Tho G Major Rubinstein concprto . . . isn't understood becauso it is simple music, but. there are heart and warmth back of it. You musu't judge a man by his clothes. Well, tho clothes of tho G Major concerto are simple, plain almost, but the work has heart. I liko it,, perhaps, less than the D Minor concerto, but I am very fond of it. I have played •it in New York before now, and many times in' Russia, although of late ''ears I do not play Rubinstein as much as I used to. "It is very difficult to find now concertosAnd I am inclined to believe that there is little modern music of much account, always excepting the Russian school. I do not care' at all for the modern French school." I go to hear "Ariane et BarbeBleue," for instance. I understand every note. I know what Dukas is trying to do, but it lias no appeal for' me. It is tho same with his piano sonata, difficult but not inspired. Debussy also seems affected, although some of his earlier work 1 like."—From an interview with Josef Hoffmann in tho Now York "Times."

'Twas Ever Thus. The criticisms heaped upon tho head of Wagner, and in more recent days upon tho heads of Strauss and Debussy, are only tho echoes of tho past. To most people nowadays Mozart is the very soul of melody. Yet hear what liis contemporary, J. 13. Schaul, has to say of him: What a difference between a , Mozart and a Jioccherini i Tiio former leads us anvoug nigged rocks in a thorny forest but sparingly strewn with ilowers; whereas the latter conducts its into a smiling landscape with flowery meadows, clear.anil murmuring brooks, and shady, proves, where our spirit abandons itself with delight to a sweet melancholy, which affords it au agreeable recreation even after it has left tlioso pleasant regions." Madame Kirkby Lunn. "Oh! I wish I wero in Australia again, witli its blue skies and brilliant sun-, tshine!" said Madame Kirkby Lunn, while chatting last month in London about her Australasian concert tour. . Tho distinguished contralto was warm in her praiso of her audiences in Australia and New Zealand.

"L was charmed," she said, "with the audionoes wliilo :we , -wero l giving our 55 concerts. Tho Australians and New Zenlauders are so appreciative and onthusiasLic, and express their appreciation eo enthusiastically. 11l was it delight to sing ii them. "Without doubt they aro a musical people. Of course, the. majority prefer tho old familiar ballads, but those who attended my concerts seemed tojadiniro tho classical and operatic selections. 1 was inundated with letters of thanks and praise. Artistically, the country is young, but even now Australia demands tho best that can bo given." .. Of Australia Madame 6aid: I. tlunk it is a beautiful country, with a perfect climate. I should like to think 1 shall go back to Australia, for I love it! Indeed, I think I shall return later—jf they want me."' Referring to tho protest which wan made- recently in liugland against the custom of applauding the solos and chorusw in "Tho Messiah, Madame Kirkby Lunn said: "1 think it would bo better if Iho Messiah' wero heard without applause,, but then there is tho question of what it would be like for the singer to sit down amid a dead silence. Whether this would take away from the inspiration of the performers, I can't fay. After all, can ' only tell by. the plaudits whether tVv aro appreciated or not. All sacred works aro ]>etter without applause it tliey ore to make a proper impression upon tho audience, but at tho same tune it, is deadly dull for a singer to sit down- at tho end of a solo without a eound trom the audience."

Orchestral Organ Music. In the course of a thoughtful article on the above topic in- "Etude," Mr. Ldwm 11. Lemare, the organist (who opened the Hellington Town Hall organ), says:—» "It has been stated by some that orchestral music ought not to be played on the Let 1110 say at once that I frankly and cordially agree with them, if tlisy will only allow 1110 to add the words "by those who are incapable of doing it." No organist is wise wlio attempts to interpret or* chestral music 011 the organ until he is really able to do it justice. I have known of organists, with little or 110 cxecn.tivo pretensions, launch straight out on to a full Wagner programme, regardless of tho fact that they had never seriously studrfd a single bar'of the great master's scores, arid forgetting that the instrument 011 which they were playing was totally unsuited for such music. Il.tnco what was intended tn l>o received seriously has culminated in burlesque. Let the organist begin with laoro humble efforts, and by constant studv and practice gradually briug himself up to a higher level. If he aspires to Wagner, by all means let him study the published transcriptions at his. coin maud; and by so doing lie will unconsciously develop slowly but surely a mora interesting and artistic style of organ playing. I can see 110 reason why a true artist—who lias a properly balanced sense of proportion couplccl with refinement— should not even accompany tho church service in an orchestral manner) provided always ho get; a clear "picture of the orchestra in' his niiiul, and gives effects which closely resemble it without resorting to anything bordering on coarseness or vulgarity. The style itself is perfectly legitimate in competent hands—it is tho abuse of it which brings discredit. A true sense of discrimination is imperative to real art. ... . The orchestral and more life-like style of organ plaving is the goal at which to aim. lint it is not to bo attainc-d, and it should not wen bo thought of, until tho student has thoroughly mastered his Bach, Mendelssohn, Hhcinberger, etc. _ A strict schooling in such-musift is essential before the player can venture into new fields. The foundation must be sure and solid, or it will not )>o strong enough to keep him within bounds, lie must thoroughly know the organ before he ean.oven think of til? orchestra. Above all things his aim must net be to imitate the orchestra (which-lie can never do), but simply to tako it as his pattern in the way of expression and tonccnlouring. Once liis playing has become imbued with the spirit of the orchestra, how ;;rcnt his reward when he finds opening up before him a world of music, new to "him. full of hope and joy and posibilitirs unbounded. Notes. On tlio occasion of the Verdi ccnlenar.v 11 monument is to be creeled in St. Petersburg. At the foot of a si utile to the composer a bronze group will represent Mme. Adslina I'atti in "Kigolctlo," Mme. Plolz in "Aid.i." and Mme. Aronldsen iii "La Traviala." The direclor of the municipal band at Laval, l'Vauce, a musician, mmicd I'aillard, was so much overcome with emotion 011 learning thai he had been olect-al a member of the French Academy that ho fell dead on the £pot»