Sketcher. MUSIC IN AUSTRALIA.

Waikato Times, Volume XXII, Issue 1839, 19 April 1884, Page 6 (Supplement)

Sketcher. MUSIC IN AUSTRALIA.

In the neighbourhood of our home, in one of the suburbs of a city which shall be nameless, there is a small hotel, at which it is our occasional custom to visit. We were sitting in the parlour of this establishment one evening recently, smoking a fragrant pipe, and sipping a mocleat glass of — well, lemonade — when the landlord entered, bringing with him a stranger, ■whose acquaintance he wished us to make, as he (the stranger) was a good musician, and our landlord knew that we loved the art, and cherished its professors. The room boastA of a passable piano, at which the newcomer was easily induced to take his &eat, and perform. He played accurately, with great taste, and considerable execution ; and after delectatiug us with several airs from memory, he was presently supplied with a stack of music, and worried into it, performing piece after piece, on demand of one or other of his hearers. There was nothing wonderful [about the performance ; but it was sufficiently gefod to interest us into making some enquiries anent the executant. We then learnt that he was a worlang caipenler I Just a working carpenter — a man whose hands were hardened, and whose joints were stiffened by hard manual labour extending over many years. Yet his touch was as delicate as that of a young lady fresh from a fashionable boardingschool, and his execution was as easy and glissanl as if he had practised his four hours a day for years. During our homeward walk, we pondered over this strange conjunction of such opposite employments, and gradually fell into a train of reflection upon the position of Music in these colonies. Germans and Italians, to whom has always been conceded the lead in musical matters, are wont to sneer at the efforts of the British race in that direction — yet there are enough facts before us to show that our compatriots love the ait as well as their detractors, and that its cultivation is fast becoming as general in English-speaking communities as in its older homes in Italy or the Fatherland. Kinging is now taught in every school in the land ; and the house is poor indeed which does not boast the possession of some instrument of music. Our national taste may not be refined to such a pitch as to enable us to appreciate the mysteries of Wagner, as the classicalities of the contra-puntists ; but we have learned to ove sweet melody, and are learning to distiusl the meretritious— except in connection

with the leg-business of opora houffc. Above all, the " people " have taken to the home cultivation of the art, and the next generation will possess an advantage which was denied to their sire 3, that is, an early training for both hand and ear, which can never be replaced by labour in after life. Some particulars which we have gathered from one of the leading Australian purveyors of music and music appliances furnish ample testimony of the wide hold the art has taken on the people of these colonies. The firm of Messrs. N. and Co. is known as one of the most enterprising in the city, and their operations are well known as being on a most extensive scale. Messrs. Nicholson and Co. (formerly " Nicholson and Ascherberg") are amongst the latest comers in the field, and it cannot be denied that this firm has spent, in all probability, by far the largest amount of money in advertising and otherwise bringing their wares into prominent notice. As an instance of this we notice their catalogue of pianos, which contains engravings of almost every description of instrument in the market, together with much useful information to intending purchasers. This catalogue was prepared and printed in Australia, and, from a typographical point of view, is excellent, whilst the illustrations will compare favourably with the work of English artists and engravers. Messrs. Nicholson and Co, offer also to their customers special descriptions of various pianos, accompanied, in some cases, by photographic illustrations of the exterior and interior of the instruments. The firm possesses large splendidlyfitted business premises in the principal fashionable thoroughfares of Melbourne and Sydney. Their average annual sale o£ pianos in Melbourne is six hundred ; and, in Sydney, an equal number. When it is remembered that each of these cities contain dozens of dealers in pianos, and further, that very many merchants import pianos for sale to the country trade, some idea may be gained of the extent to which the art of music is cultivated amongst us. But there is more to come. The figures given above represent sales only — how many instruments are always out on hire, must be imagined— we have no information on this point. Harmoniums, we are told, are going out of fashion rapidly, their place being taken by the cabinet organs, first (we believe) introduced by an American inventor. Of these, Clough and Warren's (of which they have the sole agency) Messrs. Nicholson & Co. dispose of annually some 150 at each city. Their Melbourne show-rooms never contain less than 150 pianos on view, and a very large number are always lying in bond ready for shipment to these colonies, so as to sa'^ the Victorian duty. Of other stock it may be said that this firm have always at least £5000 worth of music on hand, and at least £20,000 worth of instruments on hire, and on the time-payment system. So great is the demand for useful, reliable instruments that they recently concluded an arrangement, with a well-known Emopean maker, for the supply of a piano specially constructed, to their order, for the Australian market, and of which they retain the right of monopoly. This instrument ia called the " Mignon," and is elegant in form and stiong in structure. Its tones are sweet and liquid, whilst still possessing sufficient volume to more than suffice for any ordinary requiiements. Other specially constructed instruuients to the order of this firm are the " new model piano by Wilmer, No. 4," and the " new cottage piano by Wilmer, No. 11," both of which possess particular olaims to attention. It will be seen that the operations of Messrs. Nicholson & Co. are conducted upon a scale which would be entirely unwarrantable except upon the assumption that Australians are becoming as devoted to the ait of music as any other race on the face of the globe. And this is a comfortable conclusion. It shows that gentle pleasures are acceptable to our youth, and that "home" is not .without its attraction. Shakspeare says ; " The man that hath no music in himself, Noi is not moved with concoid of sueel sounds, Is fit for tieasonb, stiatagems, and spoils ; Tho motions of his spht are dull as night, And his affections dark as Erebus. Let no such man be trusted." We would not trust such an one — no, not even so much as the price of a pint of colonial beer. Still we should not care to live next door to the practice-room of a brass band. Few will doubt the desirability of offering every assistance towards the extension of any humanising art in a new country like this — all should remember that, however limited their means, or humble their position, they can still lend their aid to the good work by giving, at least, kindly encouragement and generous appreciation. Yet decidedly here, the people tail. Beginners, if adults, are regarded as a nuisance by their friends ; whilst even experienced professionals dare not hope for such consideration as would be extended to their brethren of the Old World. As far as these last are concerned, the reason is not far to seek : — The public, conscious of ignorance and doubtful of its " cities," hesitates to form a judgment. The hall-mark of European approval is necessary before an artist (other than a singer) can achieve a reputation in this part of the world. Let us ring in an anecdote in point, for the truth of which we are prepared to vouch. Speaking recently with a leading operatic impressario, we asked how it happened that no works of local composers were produced. He replied that if the two best Australian composers, combined with the two best play writers, had amongst them turned out a work which he (the impressario) was satisfied was as good as "Patience" or "Pinafore," (the most payable of Gilbert and Sullivan's works), he " would not produce it, until it had been played in London." The reply needs no analysis, but it serves to show how terribly local men are handicapped in their work. It is for the public io remedy this, and we do not fear that they will, in view of the extraordinary progress that music is making amongst us.