MUSICIANS AND COMPOSERS.

Otago Witness, Issue 2810, 22 January 1908, Page 95

MUSICIANS AND COMPOSERS.

— When Sir Charles Santley was in his i prime he filled an engagement' in Manchester. The "basso" of a local church choir who had a high opinion of his own powers was among the listeners, and when the concert was over he merely relieved his pent-up feelings with a very ,audible "Ah." His vicar asked him what he thought of the evening's entertainment as he had shown much interest in it. '"Well, he's ! good; in fact, he's very passable," said the i , man "But — aw could sing his yead off in "Oiy, oly.' " —To the average reader it may seem j somewhat strange that musical celebrities I who face large audiences night after night i should suffer from stage-fright. There is j probably no great violinist who is not j nervous. The famous Ysaye suffers ter- ( ribly from nervousness, while Kubelik has "trema," not only in his hands, "but also in his legs, so that frequently on the platform he has felt himself, according to Ilia account, "pushed forward by some in- ■ visible power without being able to check it." At one time Paderewski suffered greatly from stage-fright. Among great sirgers who suffer from "trema" are the De I Reszke brothers, Jean and Edouard. They were wont to declare that at times only | the respective encouragement they afforded each other prevented the iirest of failures. I — Colonel Mapleson tells a story of tho | biggest salary he ever paid. The recipient 1 was Mme. Patti. In her contract it was stated that Mme. Patti was to be paid 1 £1000 before each performance, and one p evening, said the colonel, the treasury was a little short of shekels to meet immediate 1 needs. I sent my treasurer to Mme. Patti's dressing-room with £800 and a message to the effect that the remaining £200 would re i forthcoming very shortly. Almost inline- \ diately I had a visit from Mme. Patti'.- ! maid. Carrying a choc in her hand she observed that her mistress was fully dressed with the exception of one shoe, which she | was not inclined (o put on until the £200 was handed to her. "At that moment mv tieasurer appeared with the necessary balance, and without delay I wrapped up a sum. equivalent to £200, deposited it n P.atti's shoe, and sent it to her with my best compliments. — The death is announced ai New York of Mrs Julia Wyman, a vocal teacher, who committed suicide by inhaling ,illumiating gas at the home of her daughter, Miss Caro Wyman. Mrs Wyman was separated from her husbland, Walter Wyman, who is said to be a coal dealer and clubman of Chicago, several years ago. At the time of her separation she took her daughters from the family home in Evanston, 111., brought them to New York, and was taken aboard an outgoing^ French steamer by a launch which was in waiting in tho North River. Thus 6he eluded detectives employed hy her husband. The daughters were placed in a convent J n France. Mrs ' Wyman was at one time a noted soprano, and sang with Melba at the Waldorf-Astoria 10 years ago, and ■waa famed as an oratorio soloist throughout the country. She was Miss Julia Moran before her marriage. SCHUMANN'S ADVICE TO YOUNG MUSICIANS: Young- musician© should lay to heart the

. [ hints of Robert Schumann, who, in his i ' advice to beginners, gave expression to the r following words of wisdom : — The cultivation of the ear is most important Labour early to recognise notes and keys. Endeavour to find what notes I the bell, the window-pane, and the cixckcc express, j Practice assiduously scales and other finger-exercises. ; Be steady in keeping time. Learn betimes the fundamental laws of [ harmony. Never jingle. Play with ever-refreshed j eagerness, 'and always finish the piece. Slowness and hurry are both great faults. Take pains to- play easy pieces well and prettily ; bettor this than a mere ordiI nary pprformance of difficult ones. I Play always as if a master listened. i Be not satisfied with knowing your piece i manually ; you must also be able to hum . it without the aid of the instrument. Exert yourself, even though you have ; but little voice, to sing at sight _ without ; the help- of the instrument; by this means • the quickness of your ear will constantly increase. But if you have a good voice neglect no opportunity of cultivating it, consider it as the most valuable gift that heaven has conferred on you. Be not deterred by the words theory, thorough-bass, counterpoint, etc. ; approach | them as a friend, and their response will be I most cordial. Esteem the approbation of the artist more than that of the multitude. TWO OLD-TIME OPERATIC QUARRELS. — Jenny Lind : Sims Reeves. — In the early and mid 'forties Alfred Bunn was giving opera in English at Drury Lane, and, of course, looking out for new artistes, leading ladies especially. Jenny Lind, in 1844, was a singer of note in Germany. She was recommended to him by Lord Westmoreland, then English Ambassador at Berlin. Miss Lind accepted Bunn'9 offer of an engagement to sing 20 times at Drury Lane, in the year 1845. The contract was dated January 10, 1845, and on. February 22, the artiste wrote to the manager declaring that she could not learn the English language in the time allowed, adding — "I am therefore compelled to tell you that I shall not come to London, and that I consider the engagement must be null." As might have been expected, Bunn appealed to the law, laying his damages at £10,000, and obtaining a verdict for £2500. I may add that much comment was made upon a remark in a letter from the lady to Bunn, urging that ehe did not possess "the personal advantages; nor the assurance, nor the charlatanism of the other prirna donnas." I wonder what Madame Grisi said in return. On May 20, 1848, Sims Reeves (styled "Signor" in the bills) made his first appearance on the Italian stage in England. The opera- was "Linda di' Chamouni," Reeves, of course, taking the part of the Viscount. I read in the old journals that the debutant "achieved a complete triumph," also that "those who heard -him during his Drury Lane engagement, much as he was then, admired, could not have anticipated a result so very satisfactory and distinguished." In fact, as between Reeves and Lumley, everything seemed couleur de rose, yet when "Linda" was repeated, three days later, Gardoni appeared in Reeves's place, and the audience read an announcement as follows: — "Mr Reeves having refused to sustain his part in 'Linda di Chamouni,' the_ indulgence of subscribei-s and the public is respectfully entreated on behalf of^Signor Gardoni, who, at the shortest notice, has, to prevent disappointment, most obligingly undertaken the part." Reeves promptly answered the managerial announcement, branding it as intentionally misleading 1 in respect of its date, "Tuesday evening, five o'clock." which invited the inference that he had sprung his decision upon the management at almost the latest possible hour, whereas he made it known at half-past two. The artiste went on to say that he had stipulated for the part of Edgardo ("Lucia"), and naturally expected to receive it, until news reached him that the coveted role was in the hands j of Gardoni. "As soon as I became acquainted with the facts," Reeves continued hotly, "I immediately informed the manager that, in consequence of this direct violation of our engagement, I would not consent to appear again unless my part was restored to me." Thus the offended tenor, whose language moved to wrath the righteous soul of Midiael Balfe, then Lumley's conductor. The composer of "The Bohemian Girl" began loftily — "Having- signed that gentleman's engagement, I am compelled to answer the statement made by Mr Reeves." His answer traversed the statement quite directly. According: to Balfe, Reeves was engaged for five nights certain that season, with power of extension, at the ontion of the management; the part of Edtrardo, "suddenly and imperatively" demanded by Reeves, had been in the hands of Gardoni six weeks before tHe English tenor's engagement ; and some of the best parts other than that had been destined for him. It was now the turn of Reeves to take the "flure." His second utterance found admission to the Daily News only as an advertisement, for the reason, perhaps, that it did not advance the matter a steo. However that may have been, poor Mr Reeves had to pay for its insertion. — Joseph Bennett, in the Daily Telegraph.