WORLD of MUSIC

Hawera Star, Volume XLVIII, 13 September 1924, Page 14

WORLD of MUSIC

MUSIC IN DOMINIONS,

IMPROVEMENT IN THE WORK

ATTENTION TO THEORY

The position of ,New Zealand with regard to musical culture in the Dominions was discussed by Dr. T. Haigh, Mus. Doc., F.R.C.0., who is in Auckland as examiner for the Associated Board of the Royal Academy and Royal College of Music. Dr. Haigh is well known in musical circles throughout the Empire as an organ recitalist of distinction; he has also composed orchestra and chamber music, pianoforte, organ and ’cello solos, and is at present on his fourth world, tour as examiner for the above-mentioned colleges of music. Discussing the progress of music in New Zealand, Dr. Haigh expressed the opinion that the percentage of students was as large, in proportion to the population, as in England, or any countries of the Old World. In Canada, Australia, and New Zealand excellent work w'as being done by highly competent teachers. “Year by year, I have noticed improved work in many branches of music,” remarked Dr.- .'Haigh, “and particularly during my present tour have I found the theoretical side of music to be receiving, more attention. This is good. If, in the future, the Dominions are to produce composers, a thorough all-round theoretical training must go hand in hand with the practical. As for examinations, they fire a test, and provide evidence of the student having reached a certain standard of proficiency. ■ The student who does not reach that standard, however, is receiving just as useful information as the one who does. The attainment of. certificates, in my opinion, should be but the secondary object; the primary one is the satisfaction of knowing that each step taken means an advance in the gradual ascent of the long musical ladder.”

Discussing the attainments of students who had. come under his attention, Dr. Haigh was inclined to the opinion that rather more attention is being given to technique than to the general details of musicianship, phrasing, rhythm, and sight-reading being generally common weaknesses. “I think we may look forward to Canada as the Dominion"that is going to give us good organists,” observed the speaker, “while Australia will-continue to produce the singers. Particularly good vocal teaching is being done at the Albert Street Conservatorium of Music in Melbourne by Miss Mary Campbell, one of • Dame Nellie Melba’s most successful pupils. New' Zealand u'ill probably give to us sonic notable pianists, as that seems to be the principal musical interest at present. In a-growing population like that of New Zealand, however, I’, think pianists should take up an orchestral instrument as a secondary study, so that more opportunities may be given -for the formation of amateur orchestral societies.”

MME. LAHOSKA. SONG RECITAL. FOREIGN MUSIC IN MANY TONGUES. Madame Aga Lahoska, in spite Of the calls made upon her by an arduous operatic season, generously devoted herself recently to a song recital in aid of the National Association for the Prevention and Cure of Consumption and the Polish Aid Fund. Madame Lahoska, whose beautiful mezzo-soprano voice was in perfect order, sang nearly a. score of fine arias 1 and national folksongs in every lan-! guage in turn for w'hich each* w-as j originally composed—ltalian, French, Polish, Russian, German, Norwegian,' and English. The accomplished Polish artist especially roused the audience to \ enthusiasm in the little English group,' each of Avhich was encored. Granville Bantock’s “Song of the Lanterns,” with its catchy Oriental melodies, de- i lighted everyone, and when the singer 1 clearly vocalised the words, “I send j the lantern swinging through the trees,” gusts of applause sent “the | lantern” swinging back to the sweet I singer, who had at last brought home to the listeners the exact meaning of her music. This was followed by Cyril Scott’s dreamy “Cradle Seng.” ‘in which the coding voice conveyed the message, “Sleep, my baby”—and everyone was happy again! In response to the enthusiasm the popular cantatrice sat down at the uiano, and accompanied herself brilliantly in a “Spanish Air.” It may be added that Mme. Lahoska looked chic in a MonteCarlo sheath-robe of black crepe de chiue, embellished with geometrical patterns picked out with shining gemsHer headgear consisted of a silver lace turban with black feathers set at a rakish angle. It would not he possible to review 7 a programme in detail so varied in its characteristics of style and so rarely heard. The Italian groun' was represented by Marcello’s “II Mio Bel Foco ’ (1730), an aria from Pergolesi’s --ooV S °P eia > “La Serva Patlrona” Q/33), and the lamenting “Lasciatemi Moure by Monteverde, who composed for the first grand opera house stalled in Europe, which was opened at Venice in 1637. In French tliq artist charmed the audience with two familiar little ballads from the Weckerlin collection, named “Maman, Ditesmoi” et “Jeunes Filles” ; the Air de Lia from Debussy’s “L’Enfant Prodigue,” ivhere, in the anguished lament for Azael, the singer’s resonant vocal quality in the top ■ register was surprising; and “Mandolin,” Debussy’s often-sung tone-picture of the 18th century gallantry in moonlit gardens, more i>eiierally associated with soprani. & There were fascinating songs in Polish by Pederewski, Szopski, and Wieniawski (a nephew of the ’ great violinist); and beautiful German songs hv Cornelius ami Schumann. “Widmung”' was passionately voiced, and roused the house to ! enthusiasm as “something heard before.” Altogether Mme. Lahoska’s song recital proved a refreshing art success.

MUSIC EVERYWHERE. What a musical country is Jugoslavia! Every little village has its trio or quartette of musicians, and there is a trio of women singers at the village restaurant, who sit in a rovv in chairs in front of the musicians, and sing patriotic songs from dark to midnight. The instruments are a species of mandolin, and the music produced is most fascinating and is very similar to the Hawaiian guitar. (The Jugoslavia Troupe now performing at the Tivoli Theatre in Wellington play on these little mandolins.)

PAUL YINOGRADOFF

NEW RUSSIAN PIANIST,

At the invitation of the director of the New South Wales Conservatorium, Mr Paul Vinogradoff gave a private

recital recently to the professors and advanced students of that school of music in their hall.

„ ‘ Mr Yinogradoff was formerly a director of the Imperial Music School in Tomsk, and was also widely known as a composer. He had arrived here with his wife as a complete stranger, but he was sure the visitor would be made welcome-^-(applause)—and especially by the Conservatorium and its many friends. (Applause.) Under these circumstances it will be sufficient to say that Mr Vinogradoff’s pianoforte style was of a crystalline clearness, and that other attractive qualities were revealed in his rendering of the “Appassionata Sonata,” and in selections from Chopin, Liszt, Scriabine, and in compositions of his own.

FOLK SONGS’ GRIP,

PLEASANTRY’S LONG MEMORIES,

The late Mr Cecil Sharp, in his lifelong quest after folk songs, met with some instances of remarkable memory among the old people of the countryside. From one old farm labourer he collected 104 different tunes, while, an old daino jn Somerset, one of his most fruitful hunting grounds, supplied him with over 300 songs “off her own hat.” Even this performance was beaten by by an “oldest inhabitant” of Horsham, whose repertoire totalled nearly 400 songs.

A THRILLING INCIDENT. When recently the 'liner Metagama was almost in a sinking condition owing to a collision most of the passengers and crew were taken off by another steamer. Those left, mainly unmarried men, kept cheerful during the race for safety. A report states that impromptu concerts were held, in which prominent parts were taken by the ship’s string band and gramophones. Perhaps the “star turn” was that of one of the ship’s seamen, a skilled piper, who provided music with the bagpipes.

ROCK OF AGES

STORY OF THE FAMOUS HYMN

WORLD-WIDE APPEAL:

Wind aiid rain, succeeded by a thunderstorm, were the circumstances surrounding the first birthday of this hymn in 1776. The Rev. A. M. Toplady ran for refuge to the Cleft Rock at Beverington Combe, and while the elements were abating their fury the “seed-thought’’ of his hymn was growing in his heart. Having no paper, he took what lay nearest his feet, namely, a stray, ordinary playing card. On the back of this the rough draft of Rock of Ages was written, and the card itself is now preserved preciously in America.

The hymn was one of two favourites of Mr Gladstone, Prime Minister; and the Prince Consort of Queen Victoria requested to have it, read at his deathbed. What, too, of the ordinary Christian British citizen? The Sunday at Home magazine once invited each reader to select 100 best hymns. Three thousand five hundred replies were received, and 3215 included Rock of Ages. In one sentence Dr. Julian (foremost of hymnologists) summed up thus: “No other English hymn can he named which has laid so broad and •firm a grasp on the English-speaking world.”

Based Upon the Bible. Concerning the frequency of the word “rock” in the Bible, Dean Stanley wrote: “This figure has found its final and most elevated application in one of the greatest of English hymns, ‘Rock of Ages.’ ” Three verses from Scripture will suffice to show its foundation..

First, Exodus 17 and 6: “Thou shalt smite the rock, and there shall come water out of it”; here is discovered the fountainhead which satisfies a natural desire in the human and spiritual aspects of men. Second, Isaiah 32 and 2: “A man shall be as an hiding place from the wind, and a covert from the tempest; as rivers of water in a dry place; as the shadow of a great rock in a weary land”; this shows plainly the plight and inspiration of Toplady when he wrote the hymn. There might be read in this connection chapter xx., headed “The Rocks,” of R. L. Stevenson’s romance “Kidnapped”; and anyone interested in monuments might look closely at the statue of Dr. Guthrie (founder of the “Ragged Schools”) standing in Princes Street Gardens, Edinburgh. Third, there, was an ancient and grateful tradition among the Israelites that the actual rock smitten by Moses followed the chosen people into the Promised . Land, and this view, Corinthians (First) 10 and 2 might he understood more clearly when by Paul both tradition and metaphor become explained: “Fox- they drank of that spiritual Rock that followed them; and that Rock was Christ.”

Lessons. Perhaps a hundred lessons might be drawn; but the following few will serve —Toplady published his hymn under the title, “A Living and Dying Prayer for the Holiest Believer in the World” ; and private prayer is the effective preparation for public worship. ... A rock is the usual figure of speech employed to express stability and endurance, and therefore trust, and we often describe a man “as firm as a rock,” a man whose Yea is Yea and whose Nay is Nay. And what of the littleness, of the bitterness of ecclesiastical controversy r Toplady (Anglican) and Wesley (Methodist) both wrote inspired hymns, and yet they quarrelled over “mere forms”; their controversy has passed away, and their hymns live, and are united in the same volume, in Scotland. . . . Hence a plea for the union of Churches in Scotland, fulfilling in mart the world-wide and vision splenjdid of Christ—“ Neither pray I for jthee alone, but for them also which shall believe on me through their word —that they all may he one.”

ASSESSING THE SAVOY OPERAS

CONFLICTING OPINIONS ON THE BEST.

COLLABORATORS’ CHOICE,

Most of us have our own settled predilections regarding the Gilbert and Sullivan Operas. If a plebiscite were taken of the opinions of keen enthusiasts in any of the towns it is very doubtful what the result would be.

Mr T. P. O’Connor, M.P., who writes the introduction to “The Story of the Savoy Opera” (Stanley Paul), by S. J. Adair Fitz-Gerald, gives his opinion, and it is a very popular one. T.P., who says, “I knew'Gilbert and Sullivan personally; though dead, they are still very living figures to me,” tells that he is one of those who were present at the first night of “The

Mikado”—“to my taste the best thing they ever did.” He adds—“l saw ‘Trial by Jury,’ their first big success. I have seen all their pieces, and I want to see them all After reading Mr Fltz-Gerald’s wonderful story, we shall all want to see them again and again, and we shall all feel very much in the know regardixxg the Savoy Operas. The author knows everything from A to Z regarding the operas, and everybody who w-as concerned with their inception.

But to return to the subiect, both Gilbert and Sullivan, Mr F'itz-Gerakl tells us, considered “The Yeomen of the Guard” the most important and best work they evei- did in collaboration, at the same time having very deep regard for their other offspring, especially “The Mikado” and the fascinating “Gondoliers,” though Sullivan had gi-eat affection for his share in Ruddigoi-e.”

Two Happy Inspirations

The story of the origin of “The Yeomen of the Guard” is extremely interesting. Great events from little causes spring, says the author. While waiting for a train one day at Uxbridge railway station, W. S. Gilbert’s eye was arrested by the picture of a Beefeater in the large displayed advertisement of the Tow'er Furnishing Company, and this at once gave him the first idea of the nlot and scene of “The Yeomen of the* Guard.” Musically and dramatically, “The Yeomen of the Guard” is far superior, in the opinion of many people, to all the other operas, and in its construction is almost as perfect as that of “The Mikado.” A good story is told of Sullivan’s trouble with the music of Gilbert’s “I have a song to sing, 0.” The author says—“lt is known that Sullivan took oyer two weeks before he was satisfied with the eventual melody and its crescendo movement. It was stated on good authority that it kept "Sullivan awake o’ nights,-and that * when a friend called and found him in a semi-de-mented state, he moaned out in melancholy tones —“My dear fellow, I have a song to set, O, and I don’t know how the dickens I’m going to do it!” T.P.’s favourite and Gilbert and Sullivan’s next best, “The Mikado,” was suggested to Gilbert in peculiar fashion. The author quotes W. S. Gilbert himself for his authority. In May, 1884, it became necessary to decide upon a subject for the next Savoy opera. “A Japanese sword hanging on the wall of my library—the very sword carried by Mr Grossmith at his entrance in the first act—suggested the broad idea upon which the libretto is based. A Japanese piece would afford opportunities for picturesque scenery and costumes, and, moreover, nothing of the kind had ever been attempted in England. The Title Difficulty.

As a matter of fact, at this time one of the’ attractions of London was the Japanese village at Knightsbridge, which was declared to be a replica of the real thing. Gilbert and Sullivan, we are told, secured the co-operation of the managers of the Japanese village to assist them in the correct representation of the woi-k. Thus came the opera which Mr Fitz-Gerald holds as “the cleverest comic opera in its particular line ever written.”

Mr Fitz-Gerald’s book is packed with many interesting items, and a pleasing feature is the reproduction of some of the first play bills. One notes the troubles that beset the authors in choosing titles. It was at first intended to call “lolanthe” “Perola,” a sort of superstition having arisen in favour of a title beginning with a “P,” owing to the success of “Pinafore,” “The Pirates,” and “Patience.” Wiser counsels prevailed, and “lolanthe”—far the prettier name—was chosen.

“Ruddigore” did not reach the public without much criticism. It was first spelt with a “y”—“Ruddygore”—and brought forth many attacks as being not at all pretty. Friends of the management remonstrated gravely against such a title as “Bloddygore.” There are many anecdotes abopt the matter, and Gilbert certainly felt the assaults upon his supposed want of good taste very keenly. One story ran that an ardent prize-fighter, who was disappointed at the conclusion, wrote to Gilbert complaining that the title “Bloodygore” was wrong, and that' Gilbert wrote back, saying—“Ruddygore is one thing, Bloodygore is another thing; and if in writing to you I said you had a ruddy cheek it would very inadequately express mv meaning.”

APPRECIATION OF MUSIC,

FIRST MEMORY CONTEST IN

Auckland;

The community singing season, recently ended, met with such enthusiastic support from the public, that it was _ something of a surprise to the Music Memory Contest Committee that a mere handful should have.gathered in the large Town Hall for the inaugural contest (says the Star). Mr E. C. Cutten, S.M., presided, and Messrs H. A. Marriner (chairman of committees) and R. 11. Marryatt (secretary) were with him on the platform. ‘/You must not permit the small attendance here this evening to discoura S e you—it is but a beginning, ” said Mr Cutten, in opening proceedings, adding that he considered it a gicat honour to preside at the first contest, lie said that the committee aimed at a higher musical education of the community, and especially amongst the children; and the encouragement of latent talent. Such education would naturally lead to a higher appreciation of the arts, and that was what was needed. “Therefore,” said the chairman, “the society is worthy of success, and looks to a generous support from the public. The society is not discouraged because the hall'is not crowded. They are full of hope, and look forward to progressing so extensively as to be able to'promote scholarships, and hold annual gatherings. They also hoped to join in conjunction with the societies of other capital cities, and so lead to the formation of a conservatorium of music in New Zealand.” (Applause.) Mr Marryatt also eulogised the aims of the society, and the good they hoped to do “Music,” he said, “is one of the few things with which familiarity does not breed contempt.” There were some sixteen competitors present. They were • asked to recognise the .musical items played to them, and to'.-write the name and that of the composer, together with a few lines of appreciation on each number played, on a form provided. The members of the audience could also test their knowledge by writing down their attempts on a form provided. - The Mounted Rifles Band, under Captain Whnlley Stewart, Miss Letty Parkinson, the sixteen-vear-old L.T.C.L. and this year ’s Trinity College gold medallist (piano), and Messrs 11. O. MeFarlane (‘cello), G. Fosello (piano), Frank Parsons (violin), and Gordon Candor (flute) played various items from a list of 55 pieces. Professor Johnston acted as judge. •

A SONG OF COOK STRAIT. MAORI WAIATA IN MITCHELL LiBEARY. (By Eric Ramsden, Sydney, for the New Zealand Free Lance.) ■T' ' The similarity of Maori legendary lore to that of much older civilisations has been the subject of passing comment by even such an eminent ‘authority as Andrew Lang. This is again demonstrated in a poetical reply from the Wairarapa natives in 1860, which I came across the other day while browsing through the New Zealand section of Sydney’s treasure -house, the wellequipped Mitchell Library.

The poem is included in a copy of the valuable “Te Karere Maori,” or “The Maori Messenger.” This little sheet (which, incidentally, bears Dr. Hocken’s signature) was published in Auckland. Many of the pages in this Ahglo-Maori relic had remained uncut for over half a century. The English and native tongues run side by side in parallel columns.

Ngawhatu, mentioned in the poem, is the name of a sacred landmark in Cook Strait, or Eaukawa, as it was known to the Maori navigators. It was held to be most unlucky for a person on making his first passage across to look upon Ngawhatu. Therefore it was customary for strangers to be blindfolded when passing this spot, lest inadvertently they should displease the presiding deity.

The song was composed, by the chiefs Hoani and Ngatuere, of Wairarapa, as a reply to Governor Gore Browne, and was forwarded, to the Kohimarama Conference in 1860. The country was then in the throes of the Taranaki war, and the Governor was considerably agitated over the quarrel with Wiremu Kingi. . This is the translation of the gracefully worded reply of the. Ngati-Kaliu-ngunu, of forgotten Hoani, and of the tattooed Ngatuere, who sleeps on the banks of the Wai-o-hine in the peaceful little native graveyard near Greytown:— The lessening cloud is slowly coming O’er Tawake’s lofty peak! For my own beloved is dwelling in my heart. I was taunted in my youth as the unknown offspring . Of a distant land. Oh, that I were placed on the bow of Rewarewa, The Governor’s own canoe, to journey to a distance. When I cross Eaukawa with my eyes blindfolded I shall not gaze upon Ngawhatu, But when we pass beyond, then I shall look around And view the place in Cloudy Bay, The nook which Kupe crossed, when he performed the feat Of skimming across the sea. Teli me whence came those in whom I put my trust, Brave to face the battle, and strong for my support; Let me ever cling to them, and find in them my hope. - The Mitchell Library is rich in New Zealand associations. One cannot resist wishing at times that many a document, book, or picture, carefully preserved there, had found a permanent resting place, say, for instance, in the Alexander Turnbull Library. They must for 1 ever, perforce, Temain on the wrong side of the turbulent Tasman. [Many of the literary treasures in the Alexander Turnbull Library, Wellington, are duplicated in the Mitchell Library, and the “Karere Maori” is one of them. The original of this historical song is well-known among the older natives of the Wellington district, and, with variations, is still sometimes chanted at tribal meetings. Ngawhatu, mentioned in the poem, is the Maori name of The Brothers, the rocky islands on the Marlborough side of Cook Strait, which were dreaded by the olden Maori canoe sailors because of the treacherous currents and the dangerous broken seas which were encountered there. A lighthouse now stands on the principal island. It was the ancient custom to tie a covering of karaka leaves over the eyes of people making their first crossing of the Strait near Ngawhatu, from Kapiti, or the Wellington mainland. —Ed. New Zealand Free Lance.]