THOUGHTS ABOUT MUSIC

Evening Star, Issue 22444, 15 September 1936, Page 13

THOUGHTS ABOUT MUSIC

[By L.D.A.]

“Music gives tone to the universe: wings to the mind: (light to the imagination : a charm to sadness; gaiety and life to everything.”—Plato. Some objection has been taken to what is termed free advertisement obtained by various, musical notabilities mentioned in this column. It is diffi- . cult to see how a weekly column on music can be conducted without more or less frequent allusion to celebrated musicians, dead or living. Every time reference is made to a contemporary artist, of course, a certain amount of advertisement enters into it; but unless it can bo definitely shown that the artist concerned profits financially from such reference, I fail to understand on what ground valid argument against it can be based. There are a number of famous personages who figure prominently almost daily in the newspapers, but I have never heard it alleged that this continual advertisement is something to be deprecated. After all, it is the prominent people who make the world’s news headlines; without them the papers would be empty. ••• * . ■ To illustrate my meaning, let me cite the case of Miss Eileen Joyce, whose name has figured oft and large lately in this column. This artist is visiting New Zealand under contract to the broadcasting service, at a fixed fee before she arrived. If she were here under private enterprise, depending upon publicity for attracting audiences to her concerts, the position would_ be different, and so-called free advertisement in such case might well be deemed inadmissible. As matters stand, however, with ono solitary exception, all Miss Joyce’s Dunedin performances will take place at 4YA, arid the exception is decidedly one that proves the rule—i.e., her sole public appearance is to be made at the big charity concert on Thursday night, so anything written or said in this column or elsewhere regarding the eminence of Eilqen Joyce, and likely to help to swell the public attendance on this memorable occasion, will benefit the charity concerned rather than the great artist herself. In any case, Eileen Joyce has now reached the stage which she (shares with the few illustrious ones in music who require no more advertising. Her name and accomplishments speak for themselves. * * * * I read with considerable interest, in the column so ably conducted by “ C.J.M.” in the Wellington ‘ Dominion,’ that Sir John M'Ewen intends to resign his position as principal of the Royal Academy of Music, London, owing to advancing years, and that his place is to be taken by Dr Stanley Marchant, organist of St. Paul’s Cathedral. The news interests me chiefly because 1 met these two gentlemen during my Loudon visit last year. It was Dr Marchant who kindly showed mo all over the R.A.M. in his capacity as warden Later I accepted his invitation to be present in the organ-loft at St. Paul’s while a Sunday afternoon service was in progress, where I greatly enjoyed Dr Marchant’s masterly handling—and footing—of the splendid instrument over which he presides. I nearly wrote “ footling ” as the natural corollary of “ handling,” but realised in time that however applicable this adjective might be to the pedal work of many organists, it is decidedly inapposite here! It was one of my most memorable London experiences. I can never forget the indescribable majesty of sound produced by the organ and choir under that vast canopy of cathedral dome. » • • • Organists may be interested to learn that in order to cope with the problem of “ echo ” in St. Paul’s, it is necessary that the organ be played ‘ staccato ” in certain long-sustained passages—for example, in the “ Amens ” which abound in the choral service the organist plays the two cords as though the keys were red-hot. If he sustained them in the usual manner there would result a mere jumble of indistinguishable sound. Curiously enough, this effect is more noticeable in the “Amens” than in any other part of the sprvice, probably because they invariably form a final cadence. The pronounced “ echo ” in St/ Paul’s produces a prolongation of tone that must be heard to be believed. I think I am correct in stating that a single note, sharply sung or otherwise sounded, reverberates through the enormous edifice for nearly one minute. Therefore we can understand what care has to be exercised in the articulation of divergent harmonies. I must confess that the polvphonic music of Bach, when played in St. Paul’s, becomes often a meaningless medley of noise. The simpler the music the nobler the effect. » * * * New Zealand has assuredly been unusually fortunate in the matter of visits from musical celebrities in recent times. When one contrasts the lengthy fallow periods in our musical annals with the germination of the last year or two the difference is certainly striking. We have had Menuhin, Andersen Tyrer, Percy Grainger, John Amadio, Dr Malcolm Sargent. Eileen J oyee; and now we are promised the appearance _ here of Richard Crooks, the renowned singer, who comes to Dunedin on October 5. Mr Crooks has probably the most eclectic repertoire of any living vocalist; his items are selected from practically every style of composition, and are calculated to please every reasonable taste. Not having heard him sing. I am unable to testify personally, but from all accounts his reputation is fully justified. There is yet another splendid artist now on a visit to New Zealand whom I must mention, however, because I have recently enjoyed his performances—viz., Mr Michael Head, who has the almost unique distinction of being equally proficient in three roles as composer, singer, and pianist. His pianistic capacity is also subdivisible into solo and accomwork. Michael Head is a superlative musician. Of that there can be no possible shadow of doubt, no possible doubt whatever. He delighted a large audience at an invitation concert given in Wellington last week, and his success was achieved by the most delicate means There is nothing of the showman or virtuoso in Mr Head’s methods. He obtains his effects by sheer purity of style, devoid entirely of anything approaching the spectacular. His art is of that appealing and intimate type best revealed within the confines of the salon, and is therefore almost ideal for broadcasting purposes. His style is too refined and fastidious for the public platform in a large hall —at least, that is the impression 1 received when I listened to this very remarkable performer. His work is eminently for discriminating hearers: its finer points are too many and subtle for audiences in the mass. As a television artist Michael Head should score decidedly ; his versatility has immense possibilities, too, if directed into the field of sound films,

for here his delicacies and subtleties would not be spoiled by amplification. « * * * . Afr Head is touring this country under radio contract, and will be heard in each centre in due course. His original songs reach a high level of excellence, ami to hear him sing them to his own accompaniment is a very rare treat indeed- He plays .Bach, Chopin, and Debussy in bis piano solos with a peculiar reticence that has an unusual charm, without a vestige of glitter or pomp. He creates for us, in fact, a modernised atmosphere of the harpsichord era—the period when music was valued for its own sake rather than as a medium of personal display. No true music-lover should miss hearing Alichael Head. __