MUSIC’S CLAIM

Dominion, Volume 14, Issue 310, 24 September 1921, Page 8

MUSIC’S CLAIM

NEED OF A CONSERVATORIUM VIEWS OF ANTONIO NOTARIELLO STORY OF NAPLES’S GREAT MUSIC SCHOOL Although New Zealand has achieved fame in education and sport, the musical side has been, if anything, neglected. Sufficient opportunity has not been given to New Zealanders who desire to embark on a musical career, and the result has been that many talented men and women have been overlooked, and, as in the old "Elegy” of Thomas Gray, "many a . flower has been born to blush unseen, and waste its fragrance on the desert air.’’ At least, the foregoing are the opinions of Signor Antonio Notariello, the eminent Italian tenor, who was interviewed by .a Dominion reporter, per medium of an interpreter. To the reporter’s first question, "What would result from the establishing of a conservatorium in New Zealand?” he .answered, "Sarebbe molto neccss.ario un conservatorio di musica, specie in Wellington, per tante e tante ragioni.” And that very definite answer—a decided one, intimating that such an institution was necessary, especially in Wellington—was followed by an interesting translated conversation. As a singer, Signor Notariello dealt entirely with the vocal side. Signor Notariello. who is well known to Wellington music-lovers, speaks English a little, but not fluently. lie had a distinguished career in the great Conservatorium in Naples, and on ono occasion, during the absence of the maestro, the renowned Hoche, acted as singing master of the institution for three months, lie possesses tho troflslix'ed "'master's diploma" of the Conservatorium, although only 26 years of age. in addition to having won the scholarship in 1919 —the highest honour that can bo given to an Italian student of singing in Naples. The tenor has just terminated a tour of New Zealand, during which he gave 55 concerts. While, in Sydney ho had an interesting experience at the Conservatorium of Music there. At tho request of the director. M. Verbrugghcn, he sang before the assembled pupils, giving a practical demonstration of the singing of different classes of musical works: M. Verbrugghen seizing tho opportunity to address the pupils on the style and method, faking Signor Notariello’s performance as a valuable object lesson. He stressed, from the outset, the fac! that the conservatorium in Naples, and those in Turin, Milan, Pesaro, and Palermo (tho latter being in Sicily), are maintained by groat Government subsidies, as well as by bequests and gift's from wealthy Neapolitans "Every city of any size in Italy has its conserva’orium.” ho added. “The smaller centres —such as Genoa. Bologna, Florence, and Venice—have colleges that are subsidised by the various municipalities, hut the greatest of interest is (alien in them all.” That is not to he wondered at in a country where sweet singers are to be heard on every hand. The Naples College. “The Conservatorium in Naples,” added Signor Notariello, "is the finest in Italy, and one of tho best in all Europe. It excels especially in tho Italian school of ‘bel canto/ in which no other nation can surpass it. In historical tradition, it is the greatest school of music in tho whole world. It was founded over five hundred years ago by a monk, who came across three smaller conservatoria there when he ar-, rived on the scene! They were controlled by the. municipalities, but the monk found that combination would greatly increase their efficiency. However, there were many reasons why such a thing could not happen at that time, among which were the absence of any government in Naples, and, indeed, in the whole of Italy!” He added that already from the three conservatoria there had emerged glorious musicians. For example, Paisiello. Pergolese, Spon--I:ni, Sacchini, and Cimarosa. Before The combination of the three schools, Montevcrdo had given the first Italian opera in Florence; and considering that the music of tho day consisted of only two lines (Gregorian) it was a remarkable achievement. Then came the monk Pietro, from the monastery, of Majella. (so-called because in every season of the year it was covered with thick snow). After he had visited Hie small conpervatoria, he decided' that it would be better to found one in Naples, and thus was tho h’oyal Conservatorium born.

j “To-day,” said the singer, "it possesses funds totalling six million lire, and a musical library valued at more than three million lire, containing- wonderful manuscripts and paintings. Every salon ts named after great musicians, such as Bellini, Verdi, and Donizetti. When Wagner was alive he used io visit the conservatorium frequently, and history tells how he used to assist in the concerts given by the pupils.” Signor Notariello told of the great friendship that existed between Wagner and .Bellini. That was one reason why the great German composer visited Naples. At that time Bellini had not achieved the npex of his success, although he had written his wonderful opera "Beatrice di Tenda,” which remained hidden from the masters until the composer ran away, and had it produced in Milan! "History adds,” said the singer, “that Wagner once said, ‘I would give al! my harmony to Bellini if T had a little of his melody.’ ... At Beyrouth, in later years, at every 'soiree d’honneur.’ Wagner would conduct in person the young Italian’s opera ‘Norma.’ ” New Zealand’s Needs. The discussion turned on the need of New Zealand for a conservatorium. The reporter, remembering a previous statement made by the singer, asked him why Wellington would he the best place for its establishment. "It is so central.” came the answer. "It is the centre, the capital, the headquarters. Wherever I have been in New Zealand I have been struck with the great enthusiasm the people have for good music; and I feel sure that they would come from all parts of the Dominion to receive instruction in the capital.” lie then explained the conservatorium system as in vogue in Italy. “To enter the Conservatorium in Naples, the director of which is Cilia Francesco, ’ he said, "a pupil-intemling who wishes to become a singer must pass nn examination before all the professors, directors, and a commissioner from the Government in Home. Those examinations are bold annually, in .Inly and October, and the intending student must make official application some time earlier. If the board of examiners is content that an applicant's voice is worth training, ho or slm is allowed t-;> remain as a student for a period of six months. Then the pupil is compelled to pass another examination to show that he has the necessary attributes and requisites to become an artist. After being successful tn the second preliminary examination, the student is examined in general education, with the alternative of presenting a certificate.' to show that he has attained the matriculation standard. Now the career has started in earnest!” A Hard Timet Once started, the 'pupil must be prepared to take examinations in various subjects. The course consists of singing, theory and Solfeggi, pianoforte, Italian literature (poetry and drama), elocution and acting, the history of ,

music, aesthetics ol music, and so on. And for the next few years his is no easy life. “Classes are from 9 a.m. .to 5 p.m. daily/’ said Notariello. “In addition to the classes already mentioned. Professor Tandurri, one of the finest throat specialists in Italy, is sent by the Government to teach the students about the structure of the throat, throat diseases, breutliing exercises, ind positions of singing. Also, literary lectures are given by university professors. ... If a. pupil absents himself from lectures without just cause for more than 25 times in the year, ho is expelled. Owing to the great measure of Government support, the fees are only 300 lire (franc equivalent) j.er annum.” At par this works out at .£l2 a year. Some idea of the curriculum of the dramatic, art, and literary classes was given by the singer. , The students aro given lectures on the work of such writers ns Altieri, Giacosa, Tasso, and Dante, as well as English writers, including the cosmopolitan Shakespeare; and they are expected to be well versed in the works of d’Annunzio, Bracco, and other moderns. Signor Notariello spoke of the excellence of the majority of Italian teachers of music. Good singers and artists had to have good teachers, otherwise, no matter how great their talent, they would not rise to great heights. In passing, tile visitor commented on New Zealand teachers. “They do not seem to know how to classify voices here, some of them,” he, said. He added that in Italy there were students who studied for eight or nine years before their teachers would allow them to sing in public. A Few Studies. Signor Notariello laughed heartily, with many “benes,” os he told the reporter of some of his studies. “Ver’ good” he said in English. “Yes. Hard work!” Anyway, he said he had studied very little. He had only gone through Busti, Conconi, Bescintini, Bighini. Garcia, Aprile, Banofka, Marches!, Hossini (and ho remarked en passant of tho excellence of the great composer’s studies). “Not ver’ much,” he said. “Yes!’ Regarding Bossini's studies, he said that tho composer was tho first to introduce arpeggios in twelfths into singing studies —such being extremely valu■fble to the cominj- singer. But he hart not finished the list of the “few” studies he had done. He went on io tell of Bordogni, Abt, and twelve volumes of l.a Blache, on the aesthetics of singing! "How very few teachers know these studies,” ho said, dropping back onco more to Italian. “I feel keenly the lack of good teach rs ’n New Zealand. For that very reason alone the Conservalorium of New Zealand is a necessity. So few people now have any opportunity to study. If they want to go elsewhere, (hey are compelled to break up a home ami when they get io Italy (hey sometime’ do not meet with success. because no one was competent to tell them in jheir own country of the real capacifv and quality of their voices. “I' do not disguise, though, (■hat there aro some bad teachers in Pt-pl v. He smiled. "Many bad teachers. And often a foreigner will fall into their hands. But that is not the point. Given a conservatorium here, with the best teachers it is possible to obtain, prima-donnas and great tenors, baritones, basses—any kind of singers—will be able to bo trained without leaving the country. _ T consider it. a very urgent need, which the Government would do well to consider, and should the people of New Zealand decide to found Tr'conservatonuni, applications for the no’ition of director should he called for in the principal musical centres of Europe, to ensure for the con’orvatorium the services of a fully qualified master.”