MUSIC

Sun (Auckland), Volume I, Issue 192, 3 November 1927, Page 18

MUSIC

(By

F.1.R.)

Miss Constance Reilly, the Haw era soprano, who has spent two years studying: in Rome and elsewhere on the Continent of Europe, has returned to Hawera.

The London String Quartet which for 18 years has retained the same personnel will be one of the attractions in the Elwyn artist series at Scottish Rite Hall during the current season, under the management of the Wolfsohn Musical Bureau of New York, Inc.

After spending two years in other parts of the world, Jascha Heifetz, the famous Russian violinist has returned to America. On October 16 he opened his American tour with a recital at the Columbia Theatre. Mr. Joseph Ackron is accompanying him.

Paul Kirby, an Australian-born composer, has been ejected as the fifth member of the controlling committee of the Salzburg Musical Festival. The choice is significant that it was. made by the unanimous vote of the other four members of the committee, Richard Strauss, Herr Reinhardt. Herr Hoffmanstal, and Herr Schlak, who rank respectively as the leading composer, producer, dramatist and music critic of Vienna.

An opera not often staged by amai' ni s these days. Von Suppe’s "Boccaccio,” will be produced by the Tiniaru Operatic Society next month. Although, on a population basis, smaller than eithcir the Mount Albert

or Mount Eden Boroughs, Timaru possesses two separately-constituted operatic societies. The other company recently produced “Our Miss Gibbs.’*

A performance of Gounod’s “Faust” was given by the Royal Philharmonic Society, Sydney, recently. The principals were:—Marguerite, Mme. Goos-sens-Viceroy; Siebel, Merle Miller; Martha, Ethel Friend; Faust, Joseph Hislop; Valentine. Alfred Cunningham; Mephisto, Victor Evans; Wagner, Wilfred Thomas.

The Auckland Choral Society has now commenced preparing for the performance of “The Messiah” in December. Although the society is strong numerically, it could be largely improved with the inclusion of a few more tenors and basses. Such an organisation offers splendid opportunities to young vocalists for further study, particularly in obtaining a good working knowledge of choral and operatic works. A special effort should be made to strengthen the male parts, which, as is the case with most choral societies throughout New Zealand, is noticeably weak.

The equipment necessary to be a grand operatic artist is the gift of one individual in thousands—aye, millions! —and the number of vocalists who have attained the uppermost rung of the ladder during many years is infinitesimal compared with those who have essayed to become shining stars in the grand operatic constellation, states Mr. Asprey, the Australian musical critic, in the Sydney “Sun.” In all arts and sciences the very great have ever been as the traditional grain of sand, and the fate of thousands who have set out only to find their own level and suffer financial loss and bitter disappointments should be a beacon to those who are indiscriminately advised to do likewise.

Sip Henry Coward’s attack upon jazz called forth many challenges. One was from Mr. Lawrence Wright, the London song publisher, who telegraphed offering to publish a foxtrot, black bottom, blues or yale, if Sir Henry would write one in accordance with his own ideas of what a modern dance tune should be. Mr. Wright stated:—“l will publish it, have it played by some .1,500 dunce bands throughout the country, •plug’ it in all the cinemas and give it as much chance as the best tunes of the moment if Sir Henry will agree to test the opinion of modern youth coneering jazz in this way. “He can have it orchestrated as he pleases, without any ‘vulgar noises.’ ‘bowler hats,’ ‘kettles,’ or ‘braying’ trombones, and, of course, I shall pay him the usual royalties.” • * * Built up an*d expanded from a little comedy, “Ages Ago,” written by Gilbert for the German Reed entertainments of Regent Street, “Ruddigore” (which will be presented by J. C. Williamson’s specially organised opera company at Auckland on November 26, 1927) traces an historical connection with the genesis of the great Gilbert and Sullivan partnership, inasmuch as it was Frederick Clay, the writer of music for “Ages Ago,” who subsequently introduced Gilbert to Sullivan. In 1886. with, the partnership in full swing, Sullivan provided the music for the fully-fledged “Ruddigore.” The ninth of the series of 14 operas—counting “Thespis.” “Trial by Jury,’* and the rarely-played “Grand Duke”— “Ruddigore” came between two outstanding successes—“Mikado” (1885) and “Yeoman of the Guard” (1888), with the equally-popular “Gondoliers” following in 1889.

"Ruddigore” will be played throughout New Zealand by J. C. Williamson’s specially organised Comic Opera Company (which had a most enthusiastic reception at the Wellington premiere). In the centres it will be followed by other Gilbert and Sullivan favourites “Mikado,” "Patience.” “Yeoman of the Guard,” “lolanthe,” “Gondoliers.” • Pinafore.” “Princess Ida.” and “Pirates of Penzance”—nightly changes, with matinees on Wednesdays and Saturdays.

VULGAR JAZZ

‘‘A BRAYING ASS” SIR H. COWARD’S ATTACK 1 he most crushing condemnation of Jazz is that it is a dead-end sort of »omi'ositlon which cannot progress" stated Sir Henry Coward, recently in a further attack upon jazz. ••Nothing can make it anything but the essence of vulgarity. It is a low type of primitive music both in structure and performance. It is decidedlv atavistic. "It always puts emphasis on the grotesque by bangings and dungings of pots, pans, or any shimmering metallic substance. reinforced with special drums. “The popularisation of this type of music and the attendant immodest dances leads to. and, in fact, has already led to, a lowering of the prestige of tile white races. MOANING LIKE A COW “The noble trombone is made to bray like an ass, guffaw like a village idiot, and moan like a cow in distress; the silver-toned trumpet, associated in poetry with the seraphim, is made to screech, produce sounds like drawing a nail on a slate, tearing calico, or like a nocturnal tom cat.” Replying to Mr. Jack Hylton, the jazz band conductor, who offered to debate the question of jazz with him. Sir Henry Coward said, that he would concede the excellence of Mr. Hylton’s band and the smartness of the playing. but however you trick out a sow's ear you cannot make a silk purse out of it; neither can you make jazz anything but the essence of vulgarity, notwithstanding smart playing, splendid singing, abij dance of shirt front, and glittering instruments.

HISLOP '

NEW ZEALAND GALA PERFORMANCE TONIGHT

A FAMOUS TENOR One of the big numbers to be given by Mr. Joseph Hislop, the Scottish tenor who opens his New Zealand tour at the Town Hall to-night, is the “Ah Fuyez” aria from Massenet's “Manon.”

for which a special organ accompaniment will be provided by Mr. Maughan Barnett. “Lord Randal” (Cyril Scott) is also another of Mr. Hislop’s favourite numbers. In a notice of one of Mr. Hislop’s recent Australian programmes in which these numbers appeared a Sydney journal, referred to the performance in the following terms: “Lord Randal” is one of Hislop’s most striking achievements. Without any exaggeration or artificiality he makes the story live, and causes the tragedy to develop with positively horrific force. To his fully convincing vocal portrayal he adds a use of gesture and movement which is wisely limited in extent, but powerful in expression. Hislop’s rendering aroused tremendous enthusiasm, and two extras were conceded. First came a Scottish song and then followed another of the same type, “Bonnie Mary of Argyle,” most beautifully sung. Hislop’s first item on the programme was an excerpt “Ah! Fuyez,” from Massenet’s “Manon.” Hislop portrayed in the most masterly way the young chevalier’s divided mind, and made a great impression. The audience certainly would have liked to hear it again, but the singer chose to give “The Bagpipe Man,” which is deservedly one of his most popular numbers. The tenor will be accompanied by Alberto Sciarretti, the distinguished Italian solo pianist.

MUSIC STILL POPULAR

NO FALLING OFF OPTIMISTIC DIRECTOR “There is no occasion to be pessimistic regarding Australian and New Zealand support to concerts,” says Mr. Claude Kingston, concert director for Messrs. J. and N. Tait. Mr. Kingston is at present in Auckland in connection with the New Zealand tour of Mr. Joseph Hislop, the

Scottish tenor, which opens at the Town Hall this evening. Since Dame Nellie Melba and Madame Frances Alda referred to the failure this year of several artists to secure big financial successes, there has been considerable discussion on the subject of the attendances at concerts. “The concert attractions under our control this year,” says Mr. Kingston, “includ.es Paderewski and Heifetz, and at the present time, Joseph Hislop. More than 260,000 people heard Pederewski and Heifetz in New Zealand and Australia and in seven weeks 65.000 people heard Hislop in Australia-”

Ho considered that there were no other countries in the world where seven concerts could be given to overflowing houses in fewer than 15 days. Referring to the grand opera company to be brought to Australia next May. Mr. Kingston said that it was practically certain that a New Zealand tour of the main centres would follow.

Toti dal Monte is to be the prima donna and the repertoire will include a season of Wagner. Many of the costumes and most of the scenery had been obtained direct from La Scala, and the whole organisation would be sent across to New Zealand.

“It is principally on this account that £15,000 is being spent on alterations to the Christchurch theatre,” said Mr. Kingston. Questioned regarding the statement recently made by Mr. Frank Tait that the J. C. Williamson 1928 opera season was to be the last unless a Government subsidy or public guarantee was forthcoming. Mr. Kingston said that the last operatic tour cost over £IOO,OOO. Since then expenses had gone up one-third, and it was estimated that a 12-weeks’ season would cost at least £130,000.

“Even in England,” said Mr. Kingston. “they found it difficult to make opera pay. At the present time New Zealand and Australia were about the only countries in the world where opera was not subsidised. Benno Moisei witsch, the famous pianist, who recently concluded a very successful tour of Java and the Straits Settlements, will be among the Tait attractions for New Zealand next year.

VALUE OF MUSIC

A VITALISING POWER IMPERVIOUS TO ENVIRONMENT “Music has an immense vitalising power,” stated Mr. E. Douglas Tayler, superviser of musical education to the Education Department, in an address recently given to Auckland school teachers. Dealing in a very comprehensive and interesting manner on this point Mr. Tayler instanced the marching songs of the British troops in the late war and the sea chanties of the merchant marine. The stimulating effect of this music was realised and its use was encouraged. When people made music spontaneously they were happy, said the lecturer. Even sad music had come to the rescue of humanity as was to be seen in the example provided by the negro spirituals and plantation melodies. In this instance it had undoubtedly provided an emotional outlet for a people sadly oppressed. That music could rise superior to environment had been proved time and again, said Mr. Tayler. It was therefore advisable in these present times of unrest that children should be trained to follow some artistic pursuit in their leisure hours. It was remarkable that in the grimy industrial towns of England some of the finest choral societies and bands were to be found. Those were instances of music creating beauty despite sordid' surroundings. At the present day, said Mr. Tllyler, music was to be found on every hand. It was an art that had grown up with the human race and one that exerted a wonderful influence. In the schools the first thing to do was to teach the elementary principles of sight-reading in order that children might be encouraged to take up music as an artistic pursuit in later years.

Elisazeth Pechy (soprano) sings “Life Is a Beautiful Garden” (“The Blue Mazurka”) and “Shine, Bright Moon” (“The Blue Mazurka”), (Lehar), for H.M.V., 82457. The first item,

“Shine, Bright Moon,” is a beautiful melody, typical of Lehar, whilst “Life Is a Beautiful Garden” is a very pleasing vocal waltz, rather exacting on the voice, but brilliantly sung.