MUSIC

Sun (Auckland), Volume I, Issue 216, 1 December 1927, Page 16

MUSIC

(By

F.1.R.)

Frieda Hempel, who has been in Europe for the past tew months singing it Paris. London. Berlin. Hamburg rind Budapest, will return to the United States early in December to fulfil further concert engagements. A performance of Mascagni's melodious opera “Cavalleria Rusticana” will bo given by a Wellington company under the direction of Signor Cesaroni on December 10. Mr. John Brownlee, the Australian baritone, who has been engaged to appear with the J. C. Williamson, Ltd., Grand Opera Company, “will rank js uno of the world’s great artists in he near future,” said Mr. Frank Tait, •no of the firm's managing directors. A performance of “The Messiah” will bo given at New Plymouth next . Moginie, Eltham, Mrs. Shipton, New Plymouth, Messrs. F. Skinner, Wellington, and Len Barnes, Wellington. Th- Children’s Symphony concerts, which Dr. Malcolm Sargent conducts it the Westminster Central Hall, London, were re-opened in the middle of October. No adult is admitted except in charge of children. The first programme comprised an excellent selection of Handel, Weber and Schubert—- • , -h piece preceded by an explanatory at by Dr. Sargent. The children who attend these concerts will be the Queen’s Hall concert artists of the

Apart from the opera company artists who are under contract with J. and N. Tait, visits to Australia and New Zealand have been arranged with Benno Moiseiwitsch (1928), Mischa Levitski (1929) and Serge Rachmaninoff (indefinite). All three are pianists of world-wide reputation and finer hardly be found in the world today. When Joseph Hislop finishes his New Zealand tour he will return to Australia and will sing the tenor role In "The Messiah,” at the Melbourne Philharmonic Society’s Christmas production. Afterwards, it is said, he will stay in Australia for the firm’s grand opera season, and the Australasian tour, which it was expected would be of comparatively short duration, is likely to extend over fully 12 months. * * * Daisy Kennedy, the Australian violinist, caused consternation at London Queen’s Hall recently when she broke clown when playing the Brahms Concerto in D, and could not continue until she had seen the music, says an Australian paper. She was courageous enough to tell the Press the truth —that England will not pay for rehearsals, and consequently instrumentalists suffer agony when playing long works for the first time in public. Miss Kennedy had never rehearsed the difficult Brahms Concerto with the orchestra but. was expected to be perfect for the performance.

Gilbert, whose caustic wit is paramount in the many operas for the libretto for which he was responsible, was a firm believer in the maxim that no opera would succeed without a strong and efficient chorus. “I like the chorus to take a real part in the opera, and not bo merely a support to the principals.” he once said. He was unsparing with his criticism, to the leads as well as the chorus. It is said that on one occasion an actress complained: “Really. Mr. Gilbert, why should I stand here? I am not a chorus girl.” “No, madame,” replied Gilbert with one of his inscrutable smiles, “you are certainly not one of the chorus. Your voice is not strong enough, or no doubt you would be.”

Two suggestions, says a “Smith’s Weekly” writer, have often been made by the Philistines. One is to put a funny man into the old Italian operas and turn them into real musical melodrama: the other Is to take the Gilbert and Su Tivan classics, reorchestrate them so as to include instruments in the band never dreamt of in G. and S. days, and modernise lines and businesses. Germany has gone one better (or worse). In Berlin, “The Mikado” has just been presented with all the riotous elements of jazz and syncopation, and 500 chorus boys and sunshine gills charlestoning and blackbottoming until even the gorgeous minarets and pagodas in the scenery swayed and rocked in time to the broken rhythm. Gilbert’s story was considerably altered to meet the demands of revue; but we are assured that Sullivan’s fascinating tunes lent themselves “very nicely” to syncopation. and lost nothing of their piquancy in their new time. Syncopate "He’s Going to Marry Yum Yum” and you must admit you have a rollicking chore But if Berlin keeps this up t!' ‘ r.’t ! o much need to argue • e sc cord great war be-tN.’-.u x_i.g.and and Germany. j

STUDENTS’ RECITALS IMPROVE STANDARD

A NECESSARY INCENTIVE TO-NIGHT’S CONCERT The recital to be given by Mr. Walter Impett’s students at the Unity Hall this evning will be the first of a series to be given from this studio. Intended as an incentive to students to train up to a higher standard of performing efficiency, the recitals will also serve a useful purpose in introducing

promising pupils to the public,

In past years a lack of enterprise on the part of the teaching profession in New Zealand generally has been reflected in the large numbers of pupils who, despite fairly extensive training, have failed to turn it to advantage in the capacity of performers. All too soon interest has lapsed, and they have joined th© swollen ranks of the “once upon a time” brigade. Mr. Impett has now lived in Auckland for approximately 20 years and during that time quite a number of students have passed through his hands, his work also being favourably commented upon by Paul Dufault, Clara Butt, Kennerly Rumford, and other well-known visiting artists, who have given auditions to pupils from the Impett studio.

Among those of his pupils, who from time to time attracted very favourable comment from visiting artists, is his son, Mr. Kenneth Impett, who recently left Australia to further his studies in Italy. The popularity which he had gained, both on Melbourne concert platforms and “on the air,” was indicated in the packed house which included the Governor-General, on the occasion of his farewell performance. The success achieved by the Auckland boy in the Australian musical field

was no doubt largely due to the early training received at the hands of his father, and his progress abroad will no doubt be watched with considerable interest in Auckland musical circles.

To-night’s recital comprises both vocal and instrumental items, and a varied and entertaining programme is anticipated.

“THE LOST CHORD”

SULLIVAN’S INSPIRATION

OLD QUESTION DECIDED

That it was “The Lost Chord,” and not “Thou’rt Passing Hence,” that was inspired by the death of Sir Arthur Sullivan’s brother has undoubtedly been conclusively proved by Mr. Newman Flower in the course of a controversy in the “Sunday Times’’ on this subject. Replying to one “Musicus,” who asserted that “Thou’rt Passing Hence, My Brother,” was composed on the occasion of the death of Sullivan’s brother, Mr. Flower states that “Tliour’t Passing Hence,” as the song is correctly titled, was published in 1875, whereas Frederick Sullivan, who often sang the song, did not die until 1877. “Does he suggest,” writes Mr. Flower, “that it was ‘intelligent anticipation’ on the part of the composer?” He also points out that when “The Lost Chord” was published a few months after Frederick Sullivan’s death in 1877, and it was burlesqued by Solomon, the composed wrote to him and asked him to withdraw it. In the same letter he said oT “The Lost Chord”: “I wrote it in sorrow at my brother Fred’s death.” Supporting Mr. Flower’s contention, Mr. Charles Gatty said that in discussing the appeal of modern ballads to the general public with his brother, Sir Alfred Scott-Gatty, Arthur Sullivan said that “The Lost Chord” could not be judged by ordinary standards, “as it was written with his brother’s coffin in the room.” Mr. Henry Murray states that Sullivan told him the story of “The Lost Chord” some 40 years ago. He and his brother were living in chambers together, and the brother was seriously ill. Sullivan had been for some time past obsessed by the words of "The Lost Chord” and had made several attempts to set them to music. Returning late to his chambers one night he found his brother dead. Fie left the room, closed the double doors which separated it from his study, sat down to his chamber-organ, and played the melody of “The Lost Chord” note tor note as we know it.

He (Mr. Murary) asked if the story had ever been made public. “No,” said bullivan, “and I hope that while I live it never will be.”

Advice of the acceptance of his song | The Jungle Song,” by the Northi JV est Radio Service. Washington, has been received by Mr. L. A. Bartholomew, oS Napier Avenue, Takapuna, who states that it will shortly be Played by Henri Damski’s concert orchestra or by Vic. Meyers and his Brunswick recording artists. The Rdison studio also wrote to Mr. Bartholomew, stating that it had referred the publication to its studio baritone, who was deeply interested in it. Mr. Bartholomew has also composed a number of other pieces, one of which, “Song of Welcome.” was presented to the Duke of York during his visit. A letter notifying his acceptance of a copy of “The Jungle Song” has also been received from the Prince of Wales.