MUSIC

Sun (Auckland), Volume IV, Issue 984, 29 May 1930, Page 16

MUSIC

(By

F.1.R.)

“CITY OF MUSIC”

AUCKLANDER WRITES OF VIENNA NO EMPTY BOAST VIENNA, April 5. That Vienna's proud title, “The City c t Music,’’ is no empty boast, was

very quaintly proved to me one evening shortly after my arrival here. A fire brigade passing through the streets had as a warning note, not the unpleasantly familiar siren of Pitt Street, nor the thrilling clang of a bell as ir. London, but a flowing improvisation on a bugle played in masterly fashion, considering the roughness of the transit over the cobblestones. In fact, it was probably regard for the performer working under difficult conditions, that prompted the driver to travel at such a leisurely pace. And even the luckless householder whose goods were meanwhile disappearing in smoke, would be moved to condone the delay, with such solid musical grounds quoted as an excuse. Musical ' appreciation is more than merely written about in .Vienna! It is practised by all classes of the

people. The State Opera House is always packed from the most expensive boxes to the standing room at the back of the top gallery. And It is certain that even the richest patrons go simply because they like it. Yet attendance there is accompanied by not a little hardship. Many of the performances commence as early as six o’clock, and it takes a true musiclover to sit or stand through three or four hours of even the lightest opera on an empty stomach. Since, to obtain a meal after work (or any other time) in Vienna without spending an hour in a cafe, is an impossible achievement. The difficulty is got over without much suffering except to “finnicky” visitors, who happen to be present at the operation. A meal of some sort is eaten either before curtain-rise or during one of the intervals. To watch a daintily-gowned, and in other ways, perfeetly-mannered young lady, attack a large bread roll held firmly in both hands, and deftly wield a tooth pick at the conclusion of the engagement; or to be in the vicinity of a repast that seems to consist of flsh, cheese and garlic, is something of an ordeal to an “innocent abroad.” BEAUTIFUL JERITZA But to see these same people rustle into silence at the first strains of the qverture and follow the opera through with the closest attention and understanding, perhaps with the aid of a score as quite half of them do, is to experience a feeling of revelation. The audience is there for an evening’s pleasure. Just that. The Opera House is not an abode of high-brow art, nor the scene of a function that confers high social status on its patrons. It is just a place of entertainment differing only in kind from the cinema, the music-hall and the concert house. And I suppose when we English people begin to believe that simple truth and realise that all operas are not “Parsifals,” then opera may take the same place In our lives as it does in those of Continental peoples.

Certainly a great part of the attraction is the high standard of the performances and the low prices of the seats. Among the singers such world-famed artists at Jeritza, Lehmann, Piccaver and Slezak are con-

stantly appearing. Jeritza is the darling of the “gods.” Born of humble parentage, she was discovered by the Emperor, playing in a small provincial theatre, tier superb singing is: equalled by her wonderful acting and her blonde beauty Is enhanced by that rare virtue

in prima donnas—a slender and graceful figure. Piccaver Is an Englishman who sprang into fame shortly after the war, and has since then retained his place as leading tenor. A quite common treat is to see Richard Strauss of Erich Kongold conducting performances of their own works. And what an orchestra to

direct! Years of experience have made them familiar with most of the works, so that all their skill and talent is engaged in giving an artistic performance of the music. Technical difficulties simply do not exist for them, and the ensembles of strings, wood, wind and brass are a sheer delight. Being human, they have their “moments.”

I have heard trumpeters break on top-notes, and clarinets squeak. And I hare heard chorus and orchestra at loggerheads and crash chords that sounded like arpeggios! But one can hear these anywhere—in very few places can one hear such finished playing as pours from the orchestra pit of the Vienna Opera House. For the privilege of attending these wonderful performances one pays lOd to stand and from 2s upward for a seat. Unfortunately, neither price guarantees a view of the stage. The architect of the building may have been a genius from the aesthetic viewpoint, but, however beautiful the arcade that encloses the galleries may be, there is small consolation in that thought for the unfortunate person who finds himself stationed behind two-feet square of solid masonry. And there is one of these huge pillars about every 20 feet! The consequent standing and craning round is a constant irritant to the “back-benchers,” and it is a tribute to the good nature of the Viennese that the only remonstrance is an occasional hiss of “Setzen!” One shudders to think what an earnest Carlaw Park patron would say in similar circumstances. Schools’ Big Part in Music Week WELLINGTON’S EFFORT School children will play a big part in the Music Week celebrations in Wellington. Members of the Auckland executive who were in the Capital City recently, and who conferred with some of the Wellington executive, reported that the schools were entering whole-heartedly into the scheme.

On Monday, Tuesdaj', Wednesday, and Thursday afternoons of Music Week a massed choir selected from 64 schools will give selections under the baton of Mr. W. Douglas Tayler, supervisor of music in schools. On the Friday evening a massed schools concert will also be given. At Dunedin, also, the school children will play a big part in the activities of the week, a special choir of 1,000 voices being trained for the event. The importance of the part which school children will play in Music Week cannot be too greatly stressed, and it is hoped that Auckland will not be behind the other centres in this respect. By participating in Music Week, the schools will also benefit, the occasion providing a splendid opportunity to demonstrate to the public the extent of the good musical work now being done in the primary schools.