THOUGHTS ABOUT MUSIC

Evening Star, Issue 24292, 5 September 1942, Page 3

THOUGHTS ABOUT MUSIC

[By LD.A.] Music and earthquakes would nob seem to have much in common. Nevertheless, from a musical source I am to-day reminded of the disastrous upheaval which wrought such havoc in Japan 19 years ago this week. It may be recalled that on September 1, 1923, several largo Japanese cities wire almost obliterated by earthquakes of a magnitude which, fortunately, New Zealand has never yet experienced. Some six weeks later the publisher of Japan’s sole musical magazine, 1 Ongakukar,’ issued the following quaint appeal, copies of which were widely circulated in Australia, but which, I believe, has not appeared in New Zealand:—

“ Dear Sirs,—We _ beg respectfully to announce to your kindest consideration on this unpremeditated emergency that as you are well aware of the recent awfullest earthquake and subsequently huge fire which camo to Tokio, Yokohama, and many other districts have almost destroyed down the important organs and institutes of education work —not exception, of course, those of musical sphere. Our situation is all deplorable beyond describe at present. “Our ‘Musical Japan’ magazine has met against the same fate, its office building devastated with terrible shocks, and. moreover, Tokio Female Music School (Joshi Ongakuen) as education organ was quite collapsed, just only escaping victim of the flames. Our students of over 500 girls in consequence must flee from the school house, and are now under much miserable circumstances to be taught m temporary shelter entirely absent from suitable furnishing and equipment.

“ Our * Musical Japan ’ is always looked up here by the public as honourable guiding spirit of musical progress, and for this reason we have been entrusted with great task of relieving and comforting unfortunate homeless ones by teaching songs and singing, besides regularly religious music for the Christian community. Thus, though a groat drawback was brought about on our magazine service, as well as school work, by this time, we are striving so strenuous for the upkeeping and revival of musical education as the leading figure of the arc here.

“ Whereupon on this urgent occasion we beg earnestly to appeal to sympathy and munificence of your coriimunity through your journals for assistance with the pecuniary aid to relieve our needy musical work. The whole amount required at present for the redress of the devastation is just estimated 30,000d01, and of which in our calculation the half amount is now being raised in Japan, but the other half we request you sincerely to be contributed in U.S. through your hands in this time of our destitution.

“ Trusting that we shall be favoured instantly with your kindest consideration and best commands, we beg to remain, dear sir, with compliments,—Yours faithfully, “ Hi Hirato “ (Director of School and Publisher of Magazine).” » * * *

The result of this appeal was the raising and despatch of a sum oyer three times in excess of that requested, in addition to the thousands of pounds subscribed for other relief purposes in Japan. And now, 19 years later, the Japanese are giving the world an object lesson in gratitude. However, as I write there seems to be an indication that we are preparing for them another sort of earthquake.

ft has not hitherto been my good fortune to come across books published in Australia, so 1 am unable to say whether an example I have just met with is above or below the usual What 1 can honestly affirm, however, is that ‘ Music [for Pleasure,’ by Neville Cardus, recently published by Angus and Robertson Ltd., of Sydney, is one of the best-printed books of its kind I have read. Perhaps I ought to say “ that I am going to read,” ■ for so far I have only had time to glance through its 21 chapters. It is not my intention today to comment upon this book extensively, therefore, but.l hope to do so at an early dale. Judging from little bits gathered liero and there, Neville Cardus seems to have done a good job of work according to Ids lights. Knowing his style and capabilities pretty well, I shall 'expect' to agree with much that he says, also to disagree violently with quite a lot. Opening the book at haphazard, I alighted upon the following. It is typical of the Neville Cardus breezy atmosphere:—

“ Mendelssohn is one of the composers who died young. 16 is an extraordinary fact that many of the composers who died young were lyrical In style, essentially poetic, whose finest works were more or less miniature. By that 1 mean that they did not write big and severe music. Mozart died before he was 40; Schubert likewise; Purcell ditto; Weber oniv got as far as 40; Hugo Wolf died at 45 r Bizet at 37; Chopin, at 59. The com-, posers who usually lived a long time have nearly all written rather elaborate and, what we might call ‘ lough-minded,’ music. Composers who write fugues apparently, at once become blessed with long life. . . . It seems that if a composer does not possess great physical health and stamina, he does not usually write works of great size and strength. There is something in the nature of the lyrical genius that makes it blossom quickly and fade quickly. I cannot imagine a Keats growing as old as a Wordsworth. .

There is mor« about Mendelssohn, and I am glad to note that the references are complimentary. Further comment must be deferred until next week.