MUSIC.

Dominion, Volume 7, Issue 1889, 18 October 1913, Page 9

MUSIC.

fßr Tbkbm CiiXf.l 1 Is Chopin Played out? It is well to dwell on this point just at the present moment, when artists are preparing their programmes for the coming season. The "Musician," of Boston, refers editorially to "a prominent American teacher and pianist" who thinks that, with the exception of Bach, mi ?' d °' ass ' ca ' alu ' romantic masters will have a smaller placo on programmes in future. Ho does hot even except Uiopm, generally considered as the gieatest of composers for the ' piano. "1-fis works have been played over and over, until the concert-goer 110 longer finds tho old pleasure in hearing them,' and turns with expectancy to DeMissy " Now, it must be admitted that Debussy is rather more interesting than Strauss o;-j Reger, but tho "prominent teacher and pianist" is very much mistaken as to the attitude of the public. The professionals, who aro always deadheads at concerts, may indeed turn-with expeetacy and curiosity to Debussy; but if the concert pianist wishes to attract the . paying.'public;-and its enthus'iasnif Cho^inf,'' to him, Liszt, are as much as ever tho straiglitest path to success.. Teachers do not attend all of a season's important concerts. The writer these comments does; and he states most emphatically that, so far as New York .is concerned, there is not tho slightest indication that the public is turning away from Chopin or Liszt—or Beethoven, or Schubert, or Schumann, or Grieg—to Debussy.

Melody, Not Noise. , "Melodious works!" It is these that will constitute music of the future, notwithstanding the dissonant' shrieks of the musical "progressives" and militant suffragettes. On this point much has been said in this journal. Somo adntirablo comments 011 the same subject, by Arthur M. Abell, of Berlin, are printed in the "Musical Courier." Ho calls attention to tho great advance in technique mado in our day. What to a Robert Schumann was exceedingly diffi. cult, almost impossible, is a mero bagatelle to scores of youthful composers scarcely out of the conservatory. In point of brilliant orchestral colouring and bold harmonic schemes, hundreds begin where Wagner left off. But in tho real essence of composition, in melodic invention, these contemporary composors "aro found to be wofull'v lacking, almost to a man." Even in tho two men who dominate tho situation.- Strauss and Iteger, "tho real musical mission conveyed, is quite overshadowed by tho brilliant colouring and wonderful orchestration nf the one and the astounding contrapuntal skill of the other. Strauss and Reger havo advanced tho technic of their art to an unprecedented degree. But their real moments of inspiration aro rare. Thus W3 find the genernj public rallying arrund the standard of the great German classicists and Wagner and Brahms with ever greater enthusiasm, while it is becoming more and more indifferent to latter-day'musical productions. ..Even Strauss, tlio one really successful man or the day, finds tho general interest in his now creations short-lived. Tho public does not caro for technic; it wants the soul of music.

It wants melody. Puccini is cited as having said the other day: "All the theories there i aro amount to nothing without the one essential element of music—melody." And tho Parisian, Paul' Dukes, declares that "the composer who will triumph is the one who will givo twenty measures of melodygood and original melody."

The Coming of Quinlan. Auckland is lucky- It is going to hear tlio Quinlan Opera Company in nine or ten performances, all" because tho Vancouver steamers liannen to call there. It's just our bad luck that the company is going to Canada instead of to the United Statos, in which latter case Wellington might have been the favoured city. I learn that there aro quite a lot of peoplo set on hearing some of tho performances, although they will have to travel nearly 500 miles to do so. Still to those who can afford tho time and nionov, the trin will be worth while, as it will be tho first occasion on which a fully-staffed grand opera company from England has made music in New Zealand. The orchestra, about 54 strong, is easily the best that has ever graced grand opera in Australasia, and the chorus is said to be particularly fino. Besides, there nro Robert- Parker. Porooval Allen, Folico Lyne, Jcanno Brola, and a dozen other artists well worth travelling to hear and see.

What oneras will lie played? That is what enthusiasts will bo wondering. This company has such an extensive repertoire that it could change every night for threo weeks. One would hone to see such works performed as Verdi's "Aida," Saint-Saons's "Samson and Delilah," Charncntier's "Louise," Puccini's "La Tosca." and "Girl of the. Golden West," Wnener's "Tristan .and Isolde," "Dor Meistorsinp:crs," nnd "Tioheiifrrin," and wtjll, for choice, "Faust-," with Felice Lvno as Mar-, puerite. "I offer the above operas as those which have, with the exception of "Lohengrin" and "Faust," never boon heard in New Zealand, and which would I am convinecd make a wide coal to the publio tuto.