AUCKLAND VIOLINIST TO STUDY ABROAD

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

AUCKLAND VIOLINIST TO STUDY ABROAD

LOCAL BOY’S CHANCE EARLY PROMISE FULFILLED Advised by Heifetz, Kreisler, and Zimbalist, after having heard him play, to continue his studies abroad, Mr. Vincent Aspey, violinist at the Majestic© Theatre, will shortly leave for Australia to enter the Sydney Conservatorium. When only 12 years of age Mr. Aspey played before Mr. Henri Verbrugghen. The famous conductor was greatly sur-

prised at the promise shown and strongly urged that he should be sent to the Conservatorium as early as possible. Mr. Aspey was born at Hendley, Lancashire, in 1909, and leaving England with his parents at the age of two years settled at Huntly. Musical inclinations made themselves apparent at an early age, and, at the age of four years, to satisfy his desire? for music, his father purchased for him a small, half-size violin, on which he soon played popular tunes by ear. His first lessons were received from Mr. McLauehlan, of Hamilton, and afterwards from his uncle, Mr. Farrimond, passing with distinction the lower, higher, intermediate and advanced grades.

In 1924 Mr. Aspey came to Auckland under engagement to the Fuller-Hay-ward Theatres with whom he has remained ever since at the same time resuming tuition under Mr. Colin Muston.

On taking charge of the Majestic Orchestra Mr. Whiteford Waugh became greatly impressed with, such remarkable technique in a boy of 18 years, and has made the necessary arrangements for him to enter the Sydney Conservatorium in January, where he will study the violin under Florent Hoogstoel, late professor at Brussels’ Conservatorium, and harmony and composition with the well-known composer, Alfred Hill. He has also succeeded in placing him as first violinist in one of Sydney’s leading theatres. Recently Mr. Aspey played the last movement of the Mendelssohn Concerto at the Majestic Theatre, and his brilliant style and exceptional technique created a deep impression among Auckland musicians. “The Society of Old-time Instruments” recently celebrated its. 25th anniversary at Paris. With Saint-Saens as president, it was founded in 1902, “to revive music that has been forgotten, and to popularise the use of instruments now obsolete.” Mischa Levitski, the brilliant pianist who visited Christchurch some years back, has only this season made his debut in London, where he is already acclaimed as “one of the greatest living.” His first programme, played in the Queen’s Hall, varied from Bach to Bavel, with every piece given a new and just interpretation. His English appearances have been among the most successful of recent times.

Two dance hits played with plenty of verve and spirit, and with a swinging sense of rhythm, are “Fifty Million Frenchmen Can’t Be Wrong,” and “One Sweet Letter From You,” played by Ted Lewis and his band, Columbia 0700. As usual, Ted Lewis provides something particularly good in the way of vocal choruses. Voices en masse are supplied with impressive effect by the Associated Glee Clubs of America in “Bedouin Song” (Foote), “Where’er You Walk” (Handel), Zonophone A 314. These two titles were recorded actual public performance in New York City by the full gathering of the glee clubs, a choir of over 2,5 r 0 trained male voices. It is interesting to note the superiority of these records to similar attempts made in recording community singing. In the case of this trained choir each piece is perfectly executed, whereas the difficulty of controlling community singing has yet to be overcome, the present results being very crude.

Granville Bantock, one of our most thoughtful, individual, and resourceful musicians, who has been professor of music in the Birmingham University since 1908, has a narked penchant for Eastern subjects, which has been indicated alike in operas, cantatas, and shorter vocal pieces, while his command of rich harmonic colouring and rhythmical idiom has enabled him to give full effect to the themes of his chosen fancy. These qualities, notes a contributor to “The Gramophone,” are conspicuous in two of the “Songs of Egypt,” well recorded by Leila Megane, H.M.V. D 973, 12in, and called respectively “Invocation to the Nile,” and “Lament of Isis,” filling one side of a 12in disc, with “Amour, Viens Aider” on the other. There is haunting melody in both songs.