The luminous suggestion that ladies attending the forthcoming
performances of _Parsifal_ should wear mantillas instead of aigrettes is
almost the first serious attempt to bring the arts of music and dress
into a true and fitting relation. We are therefore not in the least
surprised to learn that a movement is on foot to promote sumptuary
legislation to secure this end as part and parcel of Mr. LLOYD GEORGE's
far-reaching programme of social reform. Pending the realisation of
these schemes the Editor of _Music for the Million_ has had the happy
thought of interviewing a number of distinguished musicians, whose views
may be summarised herewith.
Sir HENRY WOOD said that conductors and orchestral players were
extraordinarily sensitive to sartorial influences. Unfortunately the
force of tradition was so strong that he found it impossible to indulge
his tastes. It was _de rigueur_ to conduct in either a frock or an
evening coat, but if he had his own way he would vary his garb for every
composer. For example, he would like to wear a harlequin's dress for
STRAUSS, a full-bottomed wig and ruffles for BACH, HAYDN and GLUCK, a
red tie and a cap of Liberty for SCHOeNBERG, and the uniform of a Cossack
of the Ukraine for TCHAIKOVSKY. Instead of which the utmost liberty that
he was allowed was a butterfly tie. He thought that members of the
orchestra ought to be permitted to consult their individual tastes in
dress. Certain restrictions would of course be needed. Thus, uniforms
were all very well for dance and restaurant bands, but he would not like
to see the Queen's Hall Symphony Orchestra competing with Blue
Bessarabians or Pink Alsatians.
Herr KUBELIK declared that a violin _virtuoso_ could never play his best
by daylight. Artificial light, full evening dress and diamonds were
indispensable in an audience. You would not play _bravura_ music to
people in morning costume; it was like drinking champagne out of a
teacup.
Mr. ALGERNON ASHTON said that as the highest form of musical composition
was a Funeral March he was in favour of making black obligatory for all
persons who attended high-class symphonic concerts. The kaleidoscopic
colours affected by modern women of fashion distracted serious artists
and sometimes made them play wrong notes. An exception might perhaps be
allowed in favour of dark purple, because of its association with
mourning, but the glaring colour schemes now in vogue were to be
deprecated as prejudicial to solemnity. It pained him to see music
reduced to the menial position of the handmaid of levity.
Professor BANTOCK said that he was entirely in favour of establishing an
equation between music and the costume of those who performed or
listened to it. For instance, he felt that his _Omar Khayyam_ would make
a far deeper impression if the audience were all clad in Persian garb.
The same need for local colour would be felt in the case of his new
Siberian symphony, though he admitted that it would be a little trying
if the work was performed in the dog days. The expense was perhaps a
consideration, but people could always afford to purchase a costume for
a fancy ball, and why not for a Symphony concert?
Madame CLARA BUTT said that she found the _timbre_ of her voice was
affected by the costumes of the audience. She strongly condemned the
practice followed by some ladies of fashion of bringing their Pekinese
dogs with them to concerts. It showed disrespect to the performers and
involved cruelty to animals, since the Pekinese only appreciated the
Chinese five-note scale and detested European harmonies.
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