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MUSIC.

fßr Tkeblb Cisr.l War Songs, The British soldiers who are fighting on the Continent have taken their songs with them. And the songs men sing on the march and around the army camp and in the trenches are often just simple and childish doggerels, says "Ideas." National songs, songs of patriotism, and hymns are also sung by the forces. Sometimes the soldier prefers to sing of love, as he did in the Crimean War, when "Annie Laurie" was his favourite. The French'and Belgian soldiers have a warm spot in their hearts for "The Regiment of Sambre and Meuse." Even tho small,boys rf France sing this when they are playing at soldiers, pnffing out their chests and tramping with soldierly gait through the streets. And since the present war this song is ofton heard coming from the ranks of the French and Belgian soldiers. The French soldier never, of course, forgets his beloved "Marseillaise," but this he keeps for his more serious moments. For jolly and trivial gatherings catchy songs are as good as any. Second m his heart is the "Carmagnole," which the French troops brought back from Piedmont, and which was sung everywhere through the horrors of the French Revolution. It runs somewhat as follows :— Madame Veto has given her word, Madame Veto has given her word, To put all Paris to the sword, To put all Paris to the sword.. But vain, the'threat she made, Thanks to our cannonade Then danco the Carmagnole, Hail to the sound I Then dance the Carmagnole, While the brave cannon do sound. In the neighbourhood of KiarGhau you will hear the Japanese "Drill" song. On the march and in the camp this song is always most effective, and it is used as a genuine drill song for the yoiuig troops: — Soldiers! Attention. Right turn I one, two, three. Soldiers I Attention! Forward, one, two, three. Halt, comrades 1 All stand easy! One, two, three! Orders obey, if you a soldier brave would be. Soldiers, keep step in marching; one, two, three. Turn to left! Attention; one, two, three. Soldiers, be ready, steadfast, one, . two, three I Duty obey, if you an officer would be. Russians have always been accustomed to appoint leaders for regimental singing. At times these men improvise doggerel, which seems to hold a wonderful spell over the soldiers. An instance is related as having taken place during the war with Turkey. Under a terrific Turkish fire the_ shattered fragments of a Russian regiment effected a marvellous retreat under the guidance of the company clown, who capered and jumped in front of them, singing his improvised refrain: — Hi! foolish Turks 1, With your red caps like beets. Hi! foolish Turks! _ With your red caps like beots. Our Russian bravery. Ridiculous as this refrain may appear to us now, it served as a rallying call to tho Russian soldiers and stimulated them to action which saved them from annihilation. —Exchange. Craving for Melody. Writing of new works by two young Italian composers the Rome correspondent of the New York "Musical Courier" writes:— "It was interesting to notice how careful both the young composers had been to avoid writing anything which might, ba callcd a tune, JYhxL

Heaven alone knows. They were writing operas—though careful, as well, to avoid that baneful word, "Tragedia" being a "tragic action" and "Freda" a "tragic rhapsody"—and one moment's reflection would have shown them that all operas which have succeeded have had numerous tunes in them. Look at the real successes of recent years, in Italv the Puccini works, in France Charpentier's "Louise," in Germany "Hansel irnd Gretel" and d'Albert's "Tiefland," the only two operas since Wagner which have taken a place there as real repertoire pieces. Do they lack tunes? On the contrary, they are full of thorn. And are they any the worse for that? On the contrary, much the better. Richard Strauss's operas never have and never will win a permanent place for themselves in the opera house, and Debussy's innocuous "Pelleas et Melisande" has practically entirely disappeared from the boards, even in its native land. . But the youths of to-day blush with shame if anybody catohes them with anything resembling a tune! Why? Also warum? Pourquoi? Per che? Until another young man arises who is not afraid to write tunes —good ones, which can be whistled and street organed and pianolaed—we shall not have another genuinely successful opera composer. The bite of modernism fatally blinds its victims to the real elements which always have aJid always will compose musio, first rhythm and then melody. And you cannot build bricks without straw any better in. 1915 than in Bible times. Camille Saint-Saens, the eminent French composer, is at present in San Francisco, where he is the guest of the Exposition Executive. He is to conduct some concerts, and also appear as a pianist and organist. The war is a veil that is hiding many/big musical things that are happening in Ban Francisco in connection with the Exposition. Cheer Up! Locally there is plenty of entertainment for the music-lover. Concerts are noiv of nightly - occurrence in the city, owing to the activities of Carnival Queen committees, and the popular songs of the day are having a hot time. Amongst the unkillable are "The Rosary," "The Barcarolle" (in solo, duet, quartet, and instrumental form) of Offenbach. One might suggest that it is too often barked, if it was not so flippant a joke. There is, too, a tendency to favour Buoh ultra-sentimental songs as "I Hear You Calling Me" aad "Somewhere a Voice Is Calling," which may not bo inappropriate, yet are songs likely to loosen the flood-gates of emotion among those who have suffered through the war —an increasing number every day. Personally, I would like to hear more of the bright, breezy, patriotic gong in evidence, even if they do not savour of the deeply intellectual spirit and sound no very fiigh heroic note. "Tipperaxy" has been a Godsend to the race. At the present time I would sooner hear it shouted lustily by a dozen troopers than hear John M'Cormack sing "I Hear You Calling Me." There are many songs —good songs—with a note of cheer that could bo sung at the present time. Our business is to cheer the hearts of those who are going forth to fight, to cheer the afflicted left behind, and to remain cheerful until the power of Germany is as dust beneath the triumphant feet of the Allies.

Rheumatism, and kindred complaints— Lumbago, Sciatica, and Gout—should be treated as soon as the first symptoms are manifested. For instance, Headaches, Constipation, Flatulonce, Heartburn, are frequently symptoms of excess uric ac'd in the blood, and the sooner this acid is eradicated the hotter. Tho safest and most reliable remedy for these complaints is RHEUiMO. It has been proved by the test of public experience and is acclaimed by thousands as the one genuine remedy. KHEUIIO goes to the seat of the trouble, and by driving the uric acid from the blood, quickly gives Tclief and effects a cure. Of all chemists and jiteiefrjs. A,«wUa. it<W4,dT4, _

Permanent link to this item
Hononga pūmau ki tēnei tūemi

https://paperspast.natlib.govt.nz/newspapers/DOM19150612.2.77.4

Bibliographic details
Ngā taipitopito pukapuka

Dominion, Volume 8, Issue 2486, 12 June 1915, Page 9

Word count
Tapeke kupu
1,187

MUSIC. Dominion, Volume 8, Issue 2486, 12 June 1915, Page 9

MUSIC. Dominion, Volume 8, Issue 2486, 12 June 1915, Page 9

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