Commonwealth Band Not Wanted in U.S.A

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

Commonwealth Band Not Wanted in U.S.A

BANNED BY MUSICIANS’ UNION

AUSTRALIANS TO RECIPROCATE

Efforts are to be made by the Musicians’ Union of Australia to have legislation enacted to prevent the entry of musicians from the United States into Australia.

This step is being taken because it was alleged that the Musicians’ Federation of America had forbidden the Commonwealth Band from playing in the United States.

It was alleged by Mr. Baile, bandmaster of the Commonwealth Band, when in Auckland recently, that they were compelled to relinquish contracts worth many thousands of dollars and return to Australia, notwithstanding the fact that they did not wish to compete against American musicians in the orchestral well, but merely to perform on the stage.

It is pointed out by the secretary of the Musicians’ Union of Australia that during the past two years a number of American bands and individual players have been admitted into Australia, and have been allowed to join the Australian Musicians' Union and displace Australians in many of the theatres.

The union states that it has no objection to visiting artists, orchestras or bands touring the country. Those importations it considers to be educational and of benefit to the country. Further, they do not have the effect of displacing any musicians.

Professional musicians in New Zealand will no doubt sympathise with the efforts of the Australian Union to accord to its musicians the same pro-, tection as the American musician irf his own country enjoys.

One of the most interesting personalities associated with grand opera is Alexander Kipnis, whose first record for “His Master’s Voice” should be here some time in the near future. The subject is Wotan’s farewell song, from Wagner’s “Valkyrie.” Kipnis has a magnificent voice, and has succeeded in producing a most successful record. The accompaniment is given by the famous State Opera Orchestra of Berlin, conducted by Dr. Leo Blech, and the blending of voice and orchestra is exceptionally good. Alexander Kipnis has had a career widely different from that of the ordinary artist. Born in dire poverty in Russia 34 years ago, it was not tiil the age of 16 that he ever saw or f heard a piano. And music then took possession of his soul. After some time he obtained employment with a small operatic company, but in any capacity, apparently, other than that of singer—for he was in turn a ticket-taker, a wardrobe man, wigman, and actor. It was long before the management entrusted him with a singing part. Later he joined the conservatorium in Warsaw, and thence passed on to Berlin to study under Grensebach for four years. On the outbreak of war Kipnis was arrested, but he has since-become a great favourite with Berlin audiences. Under Leo Blech, he went to America with the Wagner Festival Company, and there created something in the nature of a sensation.