Brilliant Instrumental Trio Engaged For 3YA

Radio Record, Volume I, Issue 10, 23 September 1927, Page 2

Brilliant Instrumental Trio Engaged For 3YA

The development of the musical side of broadcasting in New Zealand, following quickly upon the appointment of the new Director of Music, Mr. W. J. Bellingham, is evident in the engagement of a studio trio for 3YA. Christchurch has reason to be congratulated on the talent secured. The Christchurch Broadcasting Trio, as it will be known, is composed of Mr. Harold Beck (’cello), Miss Irene Morris (violin), and Miss Aileen Warren (piano), three of the most talented musicians it is possible to secure. It would be difficult, indeed, to secure a better combination. Each one is an artist with a musical career. The trio will be heard at 3YA on Wednesdays, Thursdays, Fridays, Saturdays and sometimes on Sundays as well. euumeme

The personnel of the trio is distin- f guished. Harold Beck is a "cellist of whom his homeland should be proud. His recitals and performances while associated on tours with some of the world’s best artists have achieved for him a distinct national fame. He has a splendid technique and much temperament, and his playing is distinguished by rare feeling and appreciation of tone values. Mr. Beck has achieved an eminence which entitles him to rank among the violoncello virtuoso of the world. In a brief interview Mr. Beck said: I was born in Wanganui, my father heing a well-known musician, I expressed some desire to learn the ‘cello, but owing to my diminutive size my parents were sorely perplexed, as it was impossible to procure an instrument small enough, until my father, who has an inventive turn of mind, hit on the brilliant idea of putting a meat skewer into the bottom of a viola (which is the next largest in size of the violin family), thus converting it into a miniature *eello. It worked happily, and so my musical education began. By the time I was seven or eight years of age I had ruined more "cello strings, bow hairs and resin than my father had used in his entire profession. However, being good natured, he then obtained a small jize "cello for me, tt evidently did me good, for within a year I was allowed to play at a concert given by my brother Haydn, who had by this time made quite a stir as a prodigy violinist. We gave concerts in various places, and finally went to England, making an appearance in London at the residence of Lord and Lady Malcolm, who arranged the concert to display their proteges, "About this time it was decided to further my knowledge of decimals and simple fractions, and so I was banished {at least I thought so) to a schoo] in Great Yarmouth, where I was regarded -as quite a curiosity because of not being brown like a Maori. The officials evidently thought that I possessed a voice, for I was drafted off to hecome a hindrance to the choir of St. Nicholas Church (which was one of the largest parish churches in England), while my brother meanwhile went to study at the famous Brussels Conservatorium, "My next course of study was with

Mr. George Ellwood, the distinguished pupil of Gerardy-the celebrated "cellist of Liege. L owe him a deep debt of gratitude for what I learnt-especially he taught me the importance of mental work, to think and thus express the artistic in music. "Y then had the good fortune to he offered tours with unsuspecting visiting concert artists. The first to be thus deceived was Carrie Lanceley, an English singer, and then Harrv Dearth, one of the most popular baritones in Lon(don to-day, with whom I had an unrehearsed performance when motoring to Nelson, the wheel coming off our car and precipitating us over a bank! Being spared for further onslaughts I then gave recitals in various parts of the: North Island. On the occasion of the first visit to New Zealand of the New

South Walys State Orchestra, Henri Verbrugghen offered me a permanent seat in his orchestra, which I occupied until prior to his departure for Ame rica, where he is now conductor of the famous Minneapolis Symphony Orchestra. Verbrugghen was not only a great eonductor, but a thorough musician, and from my association with him ] learned much regarding interpretation. I also had a course of study with James Messeas, the ’cellist of the Verbrugghen String Quartet, for classical ‘cello compositions and absorbed music played by this quartet, which gave regular week--ly concerts, & gained a variety of experience with symphonic, operatic, and chamber music, and in this connection was fortunate in’ playing trios and quartets with organisations and music jans such as the Henri Staell String

| (Quartet, Alfred Hill (the well-known New Zealand composer), Cyril Monk, Lawrence Godfrey Smith, and Frank Hutchins, besides playing tor regular chamber music classes at the Conservatorium in Sydney. In addition the conductors of the Royal Philharmonic Society, Apollo Club, and Sydney Choral Society permitted me to draw a bow in their orchestras. The registrar of the Conseryatorium was generous on seyeral occasions by engaging me as soloist for the New South Wales Orchestra concerts. We toured regularly to the various States, giving musical festivals. Famous musicians who were associated in concerted work with the orehestra were artists such as Heifetz, Moiseiwitsch, Levitsky, Amy Evans, Dame Nellie Melba, and many others. "All this only strengthened my desire

J for more musie, and so I departed from Australia with the firm intention of proceeding to Europe. The gods, however, ordained otherwise, for on a visit to New Zealand I was induced to settle and teach in Christchurch, where I have remained ever sinco with occasional exceptions in the way of tours with eminent concert artists, the most recent being Stella Power, William G, James (the composer), and Stella Murray. Besides teaching and solo work in Christchurch I have held positions as musical director at the Grand Theatre and indulged mysel? as assisting conductor at Everybody’s, Crystal Palace, and Liberty Theatres. Among my many pupils there are some who show great promise, and may some day be heard ‘on the air!’ "

A YOUTHFUL PRODIGY. Miss Irene Morris will be remembered as quite a remarkable child prodigy some years ago. At three she was taught the pianoforte by her mother, formerly Miss Helena Bucxley. Later from Herr stflax Hoppe she had violin lessons, He, perceiving her talent quickly, brought her into public notice at concerts in Wellington, Subsequently Miss Irene Morris had musical tuition from many expert teachers, including the late Mr. F. M. Wallace. She is now resident in Christchurch, where she hag heen the leader of many musical organisations, including the Christchvrch Professional Orchestra, Everybody’s, the Grand and Greater Crystal Palace Theatres. She is also a well-known teacher and popular concert artiste, having appeared as soloist with the Christchurch Orchestral Society, The Male Voice Choir, the Eroica Cluh, ete., and has had the unique honour of being the only lady soloist to play for the Christchurch Liedertafel, : MISS AILEEN WARREN. The pianiste of the trio is Miss Aileen Warren. She is credited with being one of the best accompanists in New Zea‘land. Miss Warren was five years old when she commenced her musical edueation. A particularly apt pupil, she absorbed knowledge so rapidly #fiat, when 11 years of age, she played Bee. thoven’s ‘‘Moonlight Sonata’? at a concert and later passed every examination with honours that a student could. As an accompanist she has had a wide and varied exrarience. She toured with Miss Rosina Buckmann, and accompanied Osipoff and other artists. She has heen accompanist to the New Plymouth Operatic Society for three years and to the Christchurch Operatic Society for one year. :