"CANNED" AS WELL AS IN THE FLESH
Celebrities For Napier MORE than usually intimate interest in an item to be broadcast by 2YH on Sunday will be given Hawke’s Bay listeners when they find next week’s programmes announcing a celebrity concert for the following Thursday. . On Thursday, July 18, the touring celebrity artists will give a concert in Napier. It is to be broadcast. On Sunday next, July 14, 2YH will broadcast "Serenade to Music," a Vaughan Williams composition in which two of the visiting artists, Heddle Nash and Isobel Baillie, are particularly interested. It was written specially for the Henry Wood Jubilee Concert on October 5, 1938, when it was performed by 16 leading British singers and the pick of London’s orchestral talent. Two of these singers were Miss Baillie and Mr. Nash, who have been touring New Zealand with the Centennial Festival Orchestra. The "Serenade" is a setting of the well-known passage from "Merchant of Venice" beginning: "How sweet the moonlight sleeps upon this mossy bank,’ and continuing to the lines, "Soft stillness and the night Become the touches of sweet harmony." : The record which 2YH will use for the performance carries the BBC Orchestra, which is conducted by Sir Henry Wood himself, with the sixteen outstanding vocalists. Hawke’s Bay listeners will therefore be able to hear Miss Baillie and Mr. Nash "canned" on Sunday and in the flesh on Thursday. With them will be the Centennial String Quartet and the pianist Clifford Huntsman. The concert is to be given in the Napier Municipal Theatre,
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New Zealand Listener, Volume 3, Issue 55, 12 July 1940, Page 13
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257"CANNED" AS WELL AS IN THE FLESH New Zealand Listener, Volume 3, Issue 55, 12 July 1940, Page 13
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Copyright in the work University Entrance by Janet Frame (credited as J.F., 22 March 1946, page 18), is owned by the Janet Frame Literary Trust. The National Library has been granted permission to digitise this article and make it available online as part of this digitised version of the New Zealand Listener. You can search, browse, and print this article for research and personal study only. Permission must be obtained from the Janet Frame Literary Trust for any other use.
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