MUSICAL TOPICS.

Manawatu Standard, Volume XLIX, Issue 245, 14 September 1929, Page 7

MUSICAL TOPICS.

MR C. EGERTON LOWE, F.T.C.L. (By “Semibreve.”) During the current week Mr C. Egerton Lowe has been a visitor to Palmerston North examining candidates in music for the Trinity College of Music, London. Mr Lowe is a man of engaging personality, has a vast knowledge of most musical subjects, and is vitally interested in the psychological side of teaching. Born in London, 1860, Mr Lowe commenced his oarly musical training as a choir boy under tho late Dr. W. S. Hoyte, with whom he also studied the pianoforte. Proceeding in later years to Leipzig, Mr Lowe studied the violin under Pollitzer, playing the G Minor Concerto of Mendelssohn tor the entranco examination. During his stay at the Conservatorium from 1878 to 1882, he studied tho pianoforte under the masterly guidance of Carl Reinecke, having also other masters for the various subjects which come under the heading of music. To hear Mr Lowe lecturing is an educa tion in itself, for his excellent ideas are given in a flow of simple language, beautiiully expressed in a well-modulated voice which betrays him as being also a master of the elocutionary art, which he is. Tho knowledge and experience gained from the 100,000 lessons which he has given to various pupils during his career, to say nothing of the 60,000 candidates ho has examined in all parts of the British Empire, have made Mr Lowe one of the leading authorities in matters musical throughout the world. How wide his knowledge is is shown by the variety of subjects on which ho has written, many of his books being regarded as standard works. Mr Lowe has had published the following : “Hints to Voung Violinist.” “Harmonics,” “The Art of Pianoforte Practising,” “Word Phrases to Bach’s Fugues,” and “The Elocutionist’s Cyclopaedia.” Mr Lowe is also engaged upon a chronological history of music, which necessitates many hours spent in the British Museum, delving among ancient manuscripts. Mr Lowe is also a eong writer of merit, having had many published, while his wonderful insight into music has obtained for him the editing of many standard musical works for publishing firms. Not only has Mr Lowe made fame as a writer and lecturer, but he has always been in demand as a pianoforte recitalist. During his career Mr Lowo has met and associated with many of tho world’s great musicians of this and the past generation, and many are the anecdotes which ho has to tell relating to tho art of music. As an examiner his one idea is to help tho student to become tho perfect musician, and when lecturing to students he almost brings musicianship into tho realms of scientific exposition. It has been said that no one can really define soul, but Mr Lowe doos the next best thing—ho defines tile art of expression to a nicety. SOME HOWLERS. To have examined candidates for music and not have a few “howlers” to relate would be an unique experience for any examiner. Here are a fow from Mr Lowe’s store : Indicating a “Cadenza,” a boy candidate was asked: “What •is this” ? the reply came: “It’s a can’t end, sir.” A little Miss was asked: “What is a minuet?” and tho answer came: “It is a piece which has to bo played in a minute, and I have practised it to the metranome.” One can imagine the fondness for eating which led to tho following definition of the title “The Goblins’ Frolic;.” Examiner: “What is a Goblin?” Candidate: “Eating too fast.” There is a touch of tho romantic and possibly pride in a recent betrothal which prompted tho answer of a lady candidate when asked: “What is a real fugue?” “One that is real, like the .diamonds in my ring.” . Whero did this candidate get her information from, when she said, that “a fugue is a work in which a ‘subject’ „is intimidated by the answer?” ... It is a far cry from a “mariner” to a “marionette,” yet one little boy said that marionettes were sailors.” i The giver of the following answer would be more likely to become a better banker than a musician: “E means forty and ff means eighty.” When asked how was sound produced in the pianoforte a candidate had no theory to account for it. Mr Lowe suggested that the key moved a hammer and then asked : ‘What does the hammer do?” And the answer came: “It hits tho lid of the pianoforte.” Mr Lowe also has two good stories to tell of the late Sir Frederick Bridge who, when examining, a student, asked : “What does Scherzo” (Scairtso) mean?” The answer came .at first “shirtso” but, receiving a glare from Sir Frederick, tho student altered it to “skirtso.” Sir Frederick said: “You had better be careful, young lady; there’s a whole lot of difference between, a shirt and a skirt.” Sir Frederick must have upset tho proprieties of another lady student when asking her what a certain group of notes was called and receiving no answer, said: "Well! aro there no triplets?” The’lady immediately replied: “Oh, yes, but triplets have nothing to do wtih music.” Another of Mr Lowe’s examinees defined “grazioso” (gracofully) as “grazing along like a bullet that just grazes your head, but does not hit it.”. Finally Rubato (robbed time) ivas described as: “Stealing, that is the music steals away into the distance.’ ’

TALLIS MOTET. Talli’s motet in forty parts, so often spoken of in musical history, and often lamented that it had never been performed, has at length attained that distinction. The Bach choir in Newcastle, England, undertook the task under tho direction of Dr. W. G. Whittaker, who examined for the Associated Board in this country in recent years. As each copy of the motet costs 30s some enthusiasts in the choir undertook to make two copies each, a task involving the copying of 11,000 bars of music. The thoughtful transcribers also indicated, by means of rod ink, the wanderings of each part bo that tho singers might follow. • Eight choirs of five parts formed the number required, with two voices to_a part. Thus 80 voices gave an exquisite rendering of this wonderful feat of writing, for feat it undoubtedly was, and the time taken to sing it was exactly nine and a half minutes, after all the labour involved. The choir sang it through twice, demanding their own reward. MUSIC IN SYDNEY. Sydney people recently had the privilege of hearing Mr William Murdoch, tho celebrated pianist, play the piano part of Beethoven’s concerto in O Minor in conjunction with the Sydney Conservatorium Orchestra, under tho direction of Dr. Arundel Orchard, the whole being a splendid interpretation, Mr Murdoch s part was marked with decided massiveness and vigour. The orchestra also gave an exquisite performance of Schubert’s unfinished symphony, also Boccherini’s little minuet for strings, which never loses its dainty charm. The orchestra was particularly brilliant in two movements of Gustav Holst’s suite “The Planets, ’ the movements being “Jupiter’’ and “Venus. This concert was also broadcast. Sydney is to have its registration ot music teachers under the aegis of tho Sydney Musical Association. Qualification means the possession of certain degrees and diplomas, but in the absence of such the successful preparation of students for examination is accepted as a proof of ability, and a teacher’s right to registration. This proviso is made to meet-the case of teachers of long experience who have amply proved their ability, but find it difficult lato in lifo to pass a set examination. Even if these teachers have not submitted pupils for the musical examinations, they will be given the opportunity to send pupils to an audition arranged by the authorities of the association. Or. in the alternative, they may apply for exemption from tho conditions. The system which is being observed is that followed by tho Incorporated Society of Musicians, England.