MUSIC.

Dominion, Volume 9, Issue 2594, 16 October 1915, Page 9

MUSIC.

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Ceraldine Farrar a Pro-German. Miss Geraidino Farrar, tho American prima donna, is a pro-Gorman, and slio gives here reasons (in the "N.Y. '•tribune"): — "I am pro-German because never shall I remember with anything but tho deepest humility and gratitude that Germany mado me what I am. That for sixteen years tho folk under the black eagle encouraged me to sing my song. That can't be eradicated, and I would feel that way if I had received my spiritual sustenance from any other country. But it did not so happen. And those of my friends who cannot appreciate this can no longer come to my tablo; J. am sorry, but so it is. What I say is not a calculation of the head. I feel that tho unity of a nation, the ideal of a country, that is what democracy lacks. We have not. the perfervid patriotism a monarchy shows—a patriot doesn't grumble about what t'ho navy's going to cost." Her test of her own courage, concludes Miss Farrar, ishow to meet her failures. "Let mo but have my teeth iu my brain," she cried, "and I'JI take care of the rest." What exactly Miss 'Farrar means by "having her teeth iu her brain" is somewhat obscure, unless she has discovered a process of masticating with her brains, whilst her teeth are busy thinking out complex new parts. No doubt Germany has been a iino school of music, and has encouraged tho study of art more than any other country, but that is scarcely sufficient reason— though, perhaps, a woman's reason— for siding with Germany. There are quite a lot of people in Flanders, and Poland, thousands of innocent lion-combatants, who have not been so. well treated as Miss Farrar. • Apart, from Germany's national crime in violating the neutrality of Luxembourg and Belgium, Miss Farrar must have heard of the Belgian Commission's report. If after reading that volume of liorrors she can still retain her proGerman sentiments, then Gcraldine vanishes from the soope of our respect, aud her gramophone records should be interned at the Macquaries.

Death of Tanelew, Moscow correspondents have sent to the various capitals of Europe voluminous accounts of Sergei (Sergius) Taneiew, Russia's present day composer, a great master of counterpoint, and a cultivated and eminent Russian musician. He passed away at the village of Dindkovo, some 70 miles from Moscow, where he was taking his customary vacation holiday for summer amidst the lovely woods and fields there. His music has been slow in reaching Sydney, but the Austral Quartet's performance last May of the beautiful second movement of his "String Quartet in D Minor" links him with our concert lovers. He began his career with the cantata "St. John of Damascus" and ended with the religiously inspired "On Reading a Psalm," between which come his many chamber music pieces, four symphonies, and vocal numbers.- His operatic trilogy, as yet unheard, has been dated l for next, year at Zimin's Opera House, Moscow, and may increase the limited repertoire of the world's favourite masterpieces. He was born in 1850 of parents high in official circles, and at the Moscow Conservatoriumhe rose from gold medallist and piano virtuoso and teacher to director. He surrendered this for composition, and also amassed rare books and letters, which ho bequeathed to the Musical Library of Moscow. Tanciew was buried at the Donskoi Monastery, the church of which is 700 years old.

Sydney's Poor Taste. Mr. Verbrugghen, tho director of the New South Wales State Oonservatorium, chatting'upon his experiences during tho past few weeks, deplores the low standard of music presented at the majority of concerts in Sydney. The fact that the most classic numbers at Wednesday's Liedertafel concert were most applauded shows him "that there is no occasion for the floods of cheap sentimental songs of tho day from London and elsewhere now prevalent: nor should operatic arias be performed without orchestral accompaniment. Their proper place in any case is the stage. Visiting stars also sing and play a deal of rubbish in Australia, and make thousands by it. Tho aim of the Oonservatorium will be so to form the taste of the students that in time any stars thus stooping from their spheres—and Mr. Verbrugghen especially names John MacCormsck —will bo laughed at or ignored. So little # demand is there for really good music in Sydiioy (outside the most familiar classics) that it is difficult to buy ' any. In place of these visiting stars he will welcome the day when more good artists will settle here, and inspire the musical life of the community

War Songs. - _ The Germans aren't singing ' Wachfc am Rhein" very much in the trenches; the French are not massing their forces to, "La Marseillaise," and the British aren't marching to the solemn measures of "Rule Britannia." It has been observed in this war, as in previous wars, that the soldiers generally prefer music hall ditties to national anthems, and sentimental songs about Molly and Grehclien and Mimi to lyrics of war and arms. "Tipperary" cheered tho Allies during tho early days of the struggle; it is being superseded now by a nousensical lilt about "Is That Mr. Riley?"

As a matter of fact', the war songs and the national anthems are only popular in times of peace; perhaps one should say they are most popular when war is threatened, when the' crowds that' gather in public places feel that the national honour is to be avenged or thr*t the national safety has been threatened'. That is when jiatriotic airs are in demand. Enthusiasm is created by them, tho feeling of devotion of one's native land is aroused, national feeling is intensified and unified. When war is actually boiug waged the soldiers need another sort of music to cheer them. Only a musical genius could charge bayonets singing "The Star Spangled Banner," but during the Spanish-American war 1 "A Hot Time in the Old Town" could bo and was shouted under all possible circumstances.

Writing' of tho firm's revival in Melbourne of "Paul Joues," the "Australasian" said: —"Miss' Florence Young revived all the past glories of the play, and in tho name part aroused immense enthusiasm from the packed house, which gave her a warm welcome on her first appearance, and heaped tho stago with flowers when she made her final bow. It is almost unnecessary to mention that she sang beautifully, her voico being as young and fresh as it was when she took Nellie Stewart's part for a time in the original production. Miss Ethel Cadman sang very sweetly, but her acting seemed a little marred by nervousness, probably, too, by insufficient time in which to study the rather oxacting role of Yvonne. The quick changes and short runs of this season make heavy demands on this excellent' company. Mr. Leslie Holland made a clover and auiusing study of the part of Don Trocadero: Miss Minnie Love's Oliopinotte was dainty and pleasing, though less dashing than tile ono of former days."