SYMPHONY ORCHESTRAL PROJECT

Dominion, Volume 32, Issue 148, 18 March 1939, Page 9

SYMPHONY ORCHESTRAL PROJECT

National Society Proposed* ANTAL DORATI’S FAREWELL ADVICE M. Antal Dorati, the eminent conductor of the Covent Garden Russian Ballet orchestra, did not leave New. Zealand without giving his blessing to music in this country. He was surprised he said, at the impression his little orchestra with the ballet made. People appeared to go out of their way to express their appreciation, and the manner of its reception, the quiet which ensued on his raising the baton, indicated to him that there was in the cities of New Zealand a public sensitive and responsive to good music, a publie which should have a national symphony orchestra of its own, so that it could hear the music of the masters played each season, after the manner of the European and American centres. There was no need to wait for another century for such a precious possession. It could be created now.

Before leaving for Australia, M. Dorati discussed the project with interested people in Wellington. From what he had gathered during his visit to New Zealand, he said, it was perhaps too much to expect a full symphony orchestra to be supuported by one city only. He expressed admiration for the courage and enterprise of those people who had got behind the Wellington Symphony Orchestra, but he found that there was nothing of the kind whatsoever in Auckland, a larger city, and not much more in Christchurch. This lack should be remedied, he considered, and the time was most opportune. Time For Action. M. Dorati is categorically methodical. He said, on the point of opportunism:— (1) The country was now of age —one hundred years old—and it was time it woke up musically. (2) There was the desire, if not the urge, for a national symphony orchestra. . (3) The Government, through Professor Shelley, had promised the country a national orchestra two years ago. (4) There never was such a time when skilled musicians, to form the backbone of the orchestra, could be so easily secured (this reference being to refugees from Europe).

“As it does not appear to be possible for any one unit of the community to undertake such an enterprise,” said M. Dorati, “I think it would be best if there was one big organization throughout the country, say a New; Zealand Philharmonic Society, with branches in the main centres, and committees in the principal provincial centres. Little can be done without enthusiasm. There must be no petty jealousy. Jealousy is such a stumbling block to achievement, and it is so stupid. There should be a central board, consisting, say, of one member from each of the four centres, and with representatives also from the National Broadcasting Service and the Education Department (for the children of today are the audiences of tomorrow). Broadcast Concerts. “Such an organization, I think, should work in with the broadcasting authorities, but should not be dominated by them. As in London, the concerts given in the centres could be broadcast for the benefit of the whole of the country, and in that way the broadcasting service would reap a rich reward in service to the public. Then such an orchestra would be a ■wonderful aid to the broadcasting authorities when they engaged great artists from overseas. Your public has never heard such people at their best till it has heard them play concertos with a good symphony orchestra. Then, in addition, such an orchestra could give studio concerts, according to arrangement. “But I still maintain that this orchestra could fill in the year satisfactorily in the manner I originally suggested. That is, by giving eight symphony concerts each season in Wellington, eight in Auckland, four each in Christchurch and Dunedin, and 10 in the various provincial centres, where the visit of such an organization would be an event. Then also a number of school concerts could be given under an arrangement with the Education Department, to create a sense of appreciation in the young people. “It would, I think, be necessary to import about 12 musicians for the first chairs in the orchestra, and the other 50 or 60 could be secured locally. I cannot conceive that there would be any opposition to the importation of really competent musicians from England or the Continent, for their coming in connexion with the orchestra would ensure more regular work throughout the year for local musicians. They would be wanted to work 25 hours a week, working hours, as 'between rehearsals and performances, to be at the discretion of the conductor. There, I think, yon have a feasible working plan.

“The big view must be taken, for the ideal is a high one, and above all there should be created a wave of enthusiasm for the object, as without enthusiasm nothing can be done. I do hope something will be done. If you do something, write to me at Coven t Garden Opera House, and if there is any advice or help I can give you in London I will be only too glad to give it.’ 1

Weekend radio programmes on page 2 of second section.