POOR ATTENDANCES AT CONCERTS.

Evening Post, Volume CXII, Issue 57, 4 September 1926, Page 15

POOR ATTENDANCES AT CONCERTS.

, .'With the exception of the recital given, by Joseph Hofmann, which was not packed, all the concerts we attended were sparsely filled. Various reasons aie given for this, want of money, and too many concerts, being among them. It was astonishing to see artists of the first rank like Szigeti, the violinist, who draws big houses iv 'America and of whom we spoke recently, and Moriz Bosenthal doing so badly. Wigmore Hall, where most of these concerts are held, is only, a small place, and probably does not seat 1000 peoplo. We read about these happenings in out 'Australian and New Zealand papers, and imagine them to be great and important events, but really, they are very Bmall affairs after all, at least as far as the public are concerned. To givo two instances, Miss Gwendolen Mason, a delightful harpist, gave a recital on 4th June. She was assisted by the Virtuoso String Quartet, headed by Mis? jfarjory Haywood. On the programme ■was a quintet for strings and harp, by 'Arnold Bax, two sketches for strings, flute, clarinet, and harp, by Philip Sainton (first performance), and the introduction and allegro for harp, string quartet, flute, and clarinet by Maurice Bavel. The flute and clarinet players were celebrated people, yet, if we had given such a programme in our own country, we would have been ashamed if our audiences wore not more numerous than these fino players and works drew. Again the British Music Society gave an evening to visiting delegates from all over Britain. There were first performances of a trio for flute, oboe, and viola by Hoist, with A. Franclla (flute); Leon Goossens (brother to the well-known conductor and composer, Eugen Goossens), (oboe), and H. Berly (viola). There was also a first performance of Ernest Bloch's pianoforte quintette and other important works performed. It all went for very little, and vory little was said about it in the papers. Going back once more to the Hoffman recital. This artist made a fortune before he ira 19 years of age. He then retired from the concert platform to study further, and he is now one of the most cultured pianists living While not so poetical as either Bauei or Gabrilowitsch he is a great musician, and an artist to his finger-tips. Rosen •thai, on the other hand, seemed to us to lave a stupendous technique, but inclined to bang and 'like all bangers making a number of wrong notes. . One wonders why some of the concerts by lesser artist aro given. Some of the players lacked all the essentials of great playing, and some of them had a questionable sense of pitch. Then, again, it must cost something to give these concerts, and one would think that the sprinkling of friends who make up th? audience would hardly be considered unbiased critics.