MUSIC

Sun (Auckland), Volume II, Issue 356, 17 May 1928, Page 14

MUSIC

1 (By

F.I.R.

The Auckland Choral Society will give its first concert of the season at the Town Hall this evening when Mendelssohn’s “Elijah” will be sung. The society has been in constant rehearsal for some time past and under the direction of Mr. Colin Muston a first-class performance should result. The following soloists are assisting: Miss Alma McGruer (soprano), Miss Ina Thompson (contralto), Mr. Birrell O'Malley (tenor) and Mr. Lawrence North, of Dunedin (baritone). • * * The death was recently announced of Mr. Leslie Stuart, composer of tuneful melodies at the age of 64. Leslie Stuart will be remembered chiefly for his dreamy melodies written for Ellaline Terriss and Eugene Stratton, such as “Louisana Lou” and many “coon” songs, which anticipated the present fashion for plantation music. He wrote a great variety of songs, however, and was well known for the expressive tunefulness of his scores of “Floradora.” “The School Girl,” “Havana,” and many other musical comedies. While organist at the Roman Catholic Cathedral, Salford, he wrote a song “The Bandolero,” for Signor Foli, which has been great favourite ever since. He was then in his 20th year. “Soldiers of the Queen” brought more fame to the composer than any among his wide range of achievements. Leislie Stuart’s last musical comedy was “A Midnight Frolic,” produced in New York a year before the end of the war. His last appearances were at the London Coliseum, where he revived, with his daughter as vocalist, a number of his most memorable ballads. • * * It is said that Gloria Caruso, the eight-year-old daughter of the famous tenor, gives every promise of inheriting her father’s voice. Recently her mother stated that Gloria was being carefully trained by the best., instructors, who had paid a high tribute to her attainments. This statement was made by Caruso’s widow after the conclusion of the action in Chancery on her daughter’s behalf for the apportionment of the royalties from the Victor records of her late husband’s songs. Gloria Caruso is to receive £2,400 yearly from the proceeds of these royalties. It was stated in court that since 1921 the royalties had amounted to £148,000.

Tito Schipa, one of the foremost operatic tenors of to-day, recent?y made his reappearance at the Albert Hall, with a programme which consisted mainly of songs rather than operatic airs. “It was interesting to hear him sing some of our old English songs—such as ‘My lovely Celia’ and ‘Phyllis has such charming graces’—which are so popular with our native artists,” stated an English critic. To show his versatility. Signo.r Schipa also sang, in German, Brahms’s ‘ Mainacht” and Schubert’s “Du bist die Ruh,” of which his interpretations were effective, in Italianised versions. Two old arias by Donaudy aid excerpts from “Werther” and “Marta” were charmingly done by th© artist.

In “A Musician’s Narrative,” which was published recently. Sir Alexander Mackenzie touches upon what has been described as the “musical superstition” of the British public towards the close of th© nineteenth century produced by the dazzling success of Gilbert and Sullivan’s collaboration. Everything which the musical stage produced was compared with “The Mikado.” If it did not throw the public into a delirium it was pronounced a failure, and the public were steadfastly determined not to be made delirious by anyone else, neither by Sullivan alone nor by Gilbert alone, but only by the two together. Both Sullivan and Gilbert suffered by that determination. ’Other composers and writers suffered more, and the public suffered most of all. Shortly after Gilbert and Sullivan had collaborated for the last time in “The Grand Duke,” D’Oyly Carte engaged Mackenzie to compose an opera for the Savoy on a libretto by F. C. Burnand, with lyrics by R. C- Lehmann. It was called “His Majesty,” and it was given at the Savoy and in the provinces, but without any permanent success. This caused D’Oyly Carte to remark to Mackenzie, “I see it beginning already! Nothing by G. and S. allowed!” Recalling a visit which h e paid to New Brighton, when, with Mr. Granville Bantock, he went to hear a military band playing light opera selections, Mackenzie says:—“After praising the performance I remarked, ‘Well, Sullivan does write some jolly good tunes.' A roar of dleight followed, and Bantock, recovering his breath, managed to splutter out something to the effect that I had just been listening to ‘His Majesty.’ ”

MR. AND MRS. BATE

LOSS OF TWO PROMINENT ARTISTS LEAVING FOR ENGLAND In the departure for England by the Aorangi this month of Mr. and Mrs. Francis Bate, Auckland is losing the services of one of New Zealand’s leading ’cellists and one of the most prominent of the younger violinists that the Dominion has produced. Mr. Bate came to Auckland from Christchuro&i after his marriage to Miss Gladys Vincent in 1926. Since arriving in New Zealand in 1919 he has been engaged extensively in teaching and concert and orchestral work, and is also well known in the Southern centre as a conductor of no mean ability. He has left pupils in prac-

tically every professional orchestra in Christchurch, and the number of promising pupils he is leaving behind in Auckland bears testimony to the good work he has done in fostering interest in the 'cello in New Zealand. Mrs. Bate has the unique distinction of having won the Trinity College (Canterbury) Centre medal for highest marks for four years in succession while under the age of 12 years, also gaining her A.T.C.L.. This is a record for the colonies, and, it- is believed, a record for the Empire. While only a girl Mrs. Bate was violin leader of several orchestras and proved a great success as soloist with the Carseroni Concert Company. Mr. Bate intends to study voice production in England and may possibly return to New Zealand later.

AN OLD VIOLA

MADE BY HILL IN 1777 VALUABLE INSTRUMENT An interesting instrument, the value of which may be considerably more than what its appearance would indicate, is a viola in the possession of Mr. Charles Wood, of the Strand Orchestra. It bears the label, “Joseph Hill, at the Harp and Flute in the Haymarket, London, 1777.” Mr. Wood has shown the instrument to several visiting players, who expressed the opinion that it was genuine. Ho had photographs of the viola taken and sent to Messrs. W. E. Hill and Sons, 180 New 1 Bond Street, London, who advised that they were of the opinion that it was made by Joseph Hill, of London, who was born in 1715 and who died in 1784. They stated that they were interested in the instrument and would lie pleased to see it any time Mr. Wood was in London. Later, they followed this communication up with a substantial offer for it.

The viola came into the possession of Mr. Wood through his father, who purchased it from a viola player at Nelson, whom he heard playing it. The performer was a daughter of a Nelson newspaper man, who had in turn secured it from Herr Ballin, one time professor of music at Nelson College. After his father’s death Mr. Wood had the viola repaired by Paszeck, at Sydney, who offered £SO for it as it stood. At this time the neck of the instrument was practically worn out and had to be replaced. As an indication of the value of some instruments and how cheaply they may be disposed of, it is interesting to recall that some years ago a violin bought by a dealer for £35 was sent to Londion and sold for £250. It was later sold for £ 400 and is back in Auckland at the present time.

Mr. C. B. Cochran, the producer, recently sprang a surprise on a number of his friends by inviting them to lunch inside the Albert Hall organ. A party of 18 people sat down to lunch in the “solo box” to celebrate the completing of certain important parts of the great organ. Although not yet complete, it is sufficiently finished to allow organ recitals. The party wa3 taken into the organ on the ground level and the builder showed them over it. They wandered through the works, and finally went up the staircase in the middle of the instrument to the “solo” box, where lunch was served. “Dame Nellie Melba’s friends in London wer© hoping to see her back here this spring,” states the “Daily Chronicle. “They are a little puzzled by her announcement of a final farewell tour befor© she settles down on a Pacific island. “She made her farewell appearances in this country at the end of 1926, and last year she toured Australia, saying good-bye to the platform and th© stage. “But it is quite possible that she may not have covered all of Australia yet, or she may even have been persuaded to have another series of leave-takings. She certainly could still give an immense amount of pleasure by her exquisite method of singing and her still beautiful voice.” • * * The repertoire of the Fuller-Gonsa-lez Grand Italian Opera Company, which is expected to commence a New Zealand tour about the middle of June next, comprises “II Trovatore,” “Traviata,” “Rigoletto,” “Ernani,” “Un Ballo in Maschera,” “Aida,” Puccini’s “Manon Lescant,” “La Boheme,” “Madame Butterfly,” “Tosca,” “Lucia di Lamraermoor,” “Favorita,” “Andrea Chenior,” “Fedora,” “Fra Diavolo,” “Lohengrin,” “Mignon,” “Carmen,” “Norma,” “Faust,” “The Barber of Seville.” “Cavalleria Rusticana,” “Pagliacci,” “Lakme,” and possibly two or three other operas now being negotiated for at Milan.