MUSIC.
rax TBBBLB CLEI.I
The Sydney Conservatoire, Every musical person in. New Zealand will be interested "to see the following appointments to tho first Government Conservatoire of Music established in this part of tho world. Of the. names included several aro well known in Now Zealand. Mr. Alfred Hill is Wellington-born and bred. Mr. Frank Hutcliens hails from Hawera, and Mr. Orchard was at Palmerston North before he left for Sydney. Mr. William Holman, professor of elocution, is the father of tiie Premier of New South Wales. The list is as follows:— . List A.—Madame Lily Slapoffski, Pro-' fessor of Singing; Mr. Holand Foster, Professor of Singing; M. Albert Goossens, Professor of Singing; Mr. Nelson Iliingworth, Professor of Singing; Mr. Stephen J. Mavrogordato, Professor of •Singing; Mr. J. Philip Wrtson, Professor of Singing; Madame Yvonne Charvin, Professor of Pianoforte; Miss Mary Cochran, Professor of Pianoforte; Miss Jane Lewis, Professor of Pianoforte; Mr. J. Carlton Fay, Professor of Pianoforte; Mr. Frank Hutcliens, Professor of Pianoforte; Mr. Henry Penn, Professor of Pianoforte; .Mr. W. J. Coad, Professor of Violin; Mr. Cyril Monk, Professor of Violin; Mr. Bryce Uarter, Professor of 'Cello; Miss Rose Seaton, Professor of Diction; Mr. William Holman, sonr., Professor of Elocution; Miss Jenny Cullen, Professor of Violin; Mr. David E. Nichols, Professor of Violin; Mr. James Messens, Prolessor of 'Cello. List B. —Mr. Walter Brown, Professor of Double Bass; Miss Winifred Carter, Professor of the Mr. J. brinkman, Professor of Oboe and Cor. Anglais; Mr. A. W. Ariom, Professor of Flute and Piccolo; Mr. F. Babicci, Prolessor of Clarinet; Mr. C. A. Wood, Professor of Bassoon; Mr. G. Gervasoni, Professor of Horn; Mr., 0. F. Bowles, Professor of Trumpet and Cornet; Mr. D. W. Caten, Professor of Trombone; Mr. A. Ward, Professor of Tuba; Mr. 0. S. Palmer, Professor of Percussion Instruments. 'List C.—Mr. W. Arlom,, Assistant. Professor of Flute and Piccolo; Mr. D. Hughes, Assistant Professor of Oboe; Mr. F. Haines, Assistant Professor of Clarinet; Mr. L. Schiava, Assistant Professor of Bassoon; 'Mr. A. Caletti, Assistant Professor of Horn; Mr. Jerome Pheloung, Assistant Professor of Trumpet and Cornet;' Mr. Bennett Smith, Assistant Professor of Double Bass. List D.—Miss Lottie Dearn, Assistant Professor _ for Preparatory Pianoforte; Miss Iris de Cairos-Rego, Assistant Professor for Preparatory Pianoforte. List E.—Mr. Joseph Bradley, Professor of the Theory of Music; Mr. W" Arundel Orchard, Conductor of Ensemble Singing Class and Lecturer on the History of Music,' and Musical Literature. ■' •
List F.—Mrs. Margaret Bristow, Profess# - of Elementary Theory; Mr. Alfred Hill, Professor of Harmony, Counterpoint, Composition, etc.
Sheridan's "Critic" Opcraticised. As to unknown operas Sir Thomas Bcecnam has. taken a great fancy to Stanford's recently composed two-acter, based upon Sheridan's 4 'The•Critic." So recent is this work (it was actually written in Scotland this very summer), that at present only the first act is printed, and that only in proof. But a copy of the first act is now lying before me, a present from Sir Charles Villiers Stanford ' a few days ago. It would not be fair to go deeply into the opera as yet when I have not seen more than this act. But so much may be said at once that there is something of an innovation in that the orchestra and conductor make their initial appearance only while the prologue is being spoken. On the conclusion of tho prologue the conductor appeals to the "hautboy" for his A, and the orchestra then tunes up coram populo. Tho melody of "Auld Lang Syne" plays a rather important part in this act. But, there, I am beginning to talk from incomplete knowledge. I hope to be in possession of the complete opera in course of a week or so, and then, with your permission, I will tell you all about it. For I firmly believe that you will be asking for it ' over thero" one day soon.' Stanford as composer is_ really much more Stanford when he is dealing with a subject of this kind than when dealing with either abstract or concrete philosophy m terms of music. He is much more of a , in music than a philosopher, though ho does aiot always demonstrate the fact in his music. That, 1 1 think, explains why so many of his compositions have already been relegated to the book shelf.—"Musical 1 Courier." '
A New "1812." . At the London Coliseum Mr. C. T Fairbaim has . given new life to Tscliaikowsky's overture, "1812," by producing it with a complete mise en scene— soloists, dancers, chorus, scenery, etc., and yet not. one note of .the overture is altered or an accent interfered with. The following is Mr. R. Legge's description of the newest "1812":— "On the curtain rising there is a dark scene with a 6mall choir, almost invisible on the stage. Suddenly, and with beautiful softness, a solo voice rises, singing the lovely Russian folksong, or chanty, 'Ei, ukhnyom, Yeshcho razik.' This is taken up by the choir, sotto voce, as if to give a notion of Rus-: siau atmosphere. Dimmer and dimmer grows the sound of the voices, dimmer and dimmer the light, until-it, fading at first to nothingness, with infiite graduation grows clearer and clearer, and we see a scene of tho awful Steppe in winter. Low hills covered with soldiers surround the landscape. The growing light reveals a number of peasants at their devotions in a small chapel, singing the first choral of '1812.' This scene is interrupted by an inrush of peasants flying before the hostile army they are mot by tho Russian soldiery as they march and ride to battle. Good newscomes and a joyous choral is sung, Russian dancers appear among the mouzhiks, the soldiery return victorious, and Tschaikowsky's nnisic (for which ho expressed such delightful contempt on every available occasion), with-its clang of bells and general riotousness, is brought to its happy ending. I cannot remember if Tschaikowsky himself ever dotted the 'i's' of his work. If not, Fairbairn has done it for him, and has made a real' success of a newish idea—that of disintegrating a large composition and staging it to its own music. The music, mind you, is that of '1812' and nothing else, so there is something of the tour de force in fitting the punishment and the crimo; in other words, in fitting the stage action to music that was not intended for the stage without altering so much as an accent or a note. The piece was very well received, and also was very well pcformed by Molchianov (who sang the Volga chanty), Morozov and Vania, most agile.'of dancers, and the Misses Zalmani and Bromova."
Tho Ro.val Wellington Choral Society is to hold its annual meeting on February 2'J. It is imdorstoodi that the balance-sheet will bo more satisfactory than was generally anticipated. At the meeting the chair will be occupied by Mr. -J. P. Luke, the president of the society. Later on one may expect to learn something of tho society's intentions for the coming season. One would liko to hoar of a raprocheinent between the two choral societies, at least until the war is over. Neither of the societies is over strong in male membership at present, and the public is entitled.to some consideration in the matter. % One good performance is worth half a dozen indifferent ones, and last year's standard was distinctly disjVQftomting. ,
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Dominion, Volume 9, Issue 2687, 5 February 1916, Page 9
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1,222MUSIC. Dominion, Volume 9, Issue 2687, 5 February 1916, Page 9
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