MUSIC.

Dominion, Volume 9, Issue 2747, 15 April 1916, Page 9

MUSIC.

TBi Tbjiblb CMf.l Professional Orchestra. After many dpubts and fears for its immcdiato future tho Wellington Professional Orchestra has again buckled on its armour, and is to give its first concert of tho season under the baton of Mr. Herbert Bloy, at His Majesty's Theatre to-morrow evening, when will bo played the lovoly "Euryanthc" Overture (Webor), a new set of ballet dances in miniature by Ansoll; a lino ''Faust" fantasia; two pieces, "L'Escarpoletto" (swing song), by Ethel Barnes, and "Shepherd's Hoy" (Greig), and a "Saltarello" by Gounod. /Lovers of orchestral music will be glad to learn that tho orchestra intends giving a concert at His Majesty's on Good Friday night. Paul Oufault. Jlr. Paul Dufault, prince of tenor ballad singers, and tho male singer who has probaoly made deeper impressions upon tho affections of aong-lovcrs in New Zealand than any other singer in recent times, is due to arrive here from San Francisco on Friday next. Ho has arranged to tour the whole of Australasia' under tho management of Mr. Frederic Shipman, beginning in Dunedin at Easter, and thereafter working up through both islands.. Not only iB Mr. Dufault a deeply impressive singer, but ho is a remarkable personality. His fine intellect gleams through every song he sings; every word is- given just its proper value, yet is distinctly heard; every phraso conveys the full meaning intended by the author. Unlike many local singers we could name Mr. Dufault never dreams of coquetting with his aiidienco. To mo he appears to step forward on to the platform invested with the spirit of tho song he is about to sing, and he has the singular power of conveying its atmosphere to his audionce. Wo were all grateful to Mr. Dufault two years ago for introducing many new and beautiful songs, some of which have come into general favour. I, for one,, cannot and do not wish to over forget the artistic treatment ho accorded such gems of songs as "Invictus," "Little Boat," "Obstination,' "How's My Boy," "J'ai Pleuro en! Reve," "Sylveline," and "Au Pays.' If ho only returns with these songs, great joy will be ours, but Mr. Dufault lias, I ,am assured, a fine selection of the'very latest songs, most of which have never vet been heard, in New Zealand. Miss' Pauline Bindley, the clever, i Bendigo girl who toured with Mr. Dufault three years ago, will again be of the party, which will also include Mr. Harold Whittle, as accompanist, and Miss Florence Scapini as violinist. A National Song. Mr. Henry Hayward deserves to be commended for his offer of prizes for the best national song produced by a New Zpalander. There is no reason why New Zealand should not have its national song, but like Australia, no song. has been written that has had the enduring qualities sufficient to place 'it in the category of national songs, though several attempts have been made to; do so on both sides of the Tastnan Sea. The last was produced as. the result of' a competition in Australia, when the prize for the lyrics was 'awarded to Mr .Arthur H. Adams, a New Zealander. Since then little has been heard of the song, and I have .never known of an Australian that knew it. As a matter of fact, national songs; cannot be turned out to order. They/come as an inspiration and force themselves upon a nation, as i»'as the caso in "The Marseillaise" and "The Watch on . the ■ Rhine'." There is 110 one who can define exactly what a national song should be, other than that it must be simple, yot dignified, melodious yet grandiose, and must embody the character of the people. The recipe appears simple enough, but its accomplishment is none so easy How inany of i the hundreds of patriotic songs' pub-lished-since war broke out have .been retained. Not one of them' has; enjoy--ed a tithe of the popularity of "Tipperary," which after all, was only a tiny musical'hall lilt, yet it caught the whole of the Empire, because it was tho tune-the first British Expeditionary Force to land in France happened, to sing as they marched to tho Flemish front. More accident,'of. course, yet "Tipperary" will live, a long time as a musical memory of" this great war, though by. no manner of means a national song. Still, Mr. Hayward's offer may serve as an incentive to artistio endeavour if it. does .'not produce _ a genius capable of writing an enduring national anthem.

Music in the Theatre. The London "Times," *in a recent article on "The Unwanted Entr'acte," quoted, a remark credited to the late Sir Arthur Sullivan that music in the theatre is a- mistake, because "when the curtain is up it disturbs the actors, and when down it, disturbs, the audience." Commenting in the "Era," ? writer says: "If music doesn't make for the buoyancy and happiness of the listeners, what is to" be said of the converse of the proposition, the silent interval, with the, auditorium bared to melancholy and chilled to gloom ? Colour and life have departed; the greyness of the outer world obtrudes itself', a sense of coldness creeps round; there is a sad calm; the cheerful atmosphere, l has evaporated. Suddenly the heavy "three .knocks" reverberate, through the house, silencing the hushed and half-hearted conversation prattled in a. cheerless house. The sound is a startling disturbance. During a recent experience of it at a West. End theatre the query from a convalescent Tommy, "Are we downhearted?" struck the writer as particularly appropriate. No, the "three, knocks" may fit the mood of a tragedy of Euripides; but with plays of the moment let there be vivacity and brightness in the theatre, , with the persuading voice of- melody "in between." Paderewski In a Paddy. - .Paderewskij as we know from his. Australian • tour, is not an artisC to be slighted without protest. Playing at a Biltmore matinee recently for a fee .of £600, tho famous pianist had an unwelcome experience. Madame Alda, the eminent soprano, and Albert Spalding, a distinguished American violinist, contributed tho entire first part of tho programme, and Paderewski the remainder. '-Now it happened (writes a correspondent) that the first paft was extended by no less than seven encores, and it was almost one o'clock before Paderewski was able to make his appearance; he was in no mood to overtook what ho considered a personal offence or a broach of 'etiquette. Lunch called loudly from within and without. Tables downstairs ..were engaged, for lunch parties at the Biltmore musicales are quite as important to certain people as tho music. A gentlo stream of peoplo began to ompty .into the lobbies andelevators; Paderewski arose in the middle of a dainty Couperin ,number, and said: "Those who do not wish to heat me kindly leave tho room at oneo."' Encouraged by this invitation, many moro arose; the further exodus was met with hisses on the part of tho pianist's admirers, and Paderewski added in no uncertain voice: "I am astonished to find people in New York leaving while an artist is playing." This protest being greeted with cheers and applause Paderewski procoeded to regale tho scorners of material delights with a piano recital lasting an hour and 20 minutes.