Brilliant Orchestra Engaged for 2YA

Radio Record, Volume I, Issue 41, 27 April 1928, Unnumbered Page

Brilliant Orchestra Engaged for 2YA

"Ail-Star" Combination to Take the Air on May 1 E. venture to predict that listeners will be delighted with the orchestral combination. engaged for 2YA to commence on May 1. Every member is an outstanding artist and soloist, and there is unquestionably no similar combination of musicians anywhere in the Dominion, for each one is a leader in his or her particular department. The personnel is as follows:AVA SYMONS, leader, violin. SIDNEY BARRETT, clarionet. W. E. McLEAN, obligato violin. LESLIE PROBERT, drummer. FRANK HUGGINS, bass. HARRY BERRY, trumpet. CLARENCE TUCKER, flute. F. C. J. FORREST, trombone. M. T. DIXON, pianist. GEO. ELLWOOD, ’cellist and conductor. "OR the first month, so that this fme combinatipn will be under immediate control for broadcasting purposes, the baton will be taken by the Radio Broadcasting Coy’s. musical director, Mr. W. J. Bellingham, this by arrangement with the permanent conductor of the combination, Mr. Geo. Ellwood, who thereafter will have charge. From May 1, listeners, in line with the details given in the article below, may look for a series of musical treats.

\ | \) ! UERIUDUUENE NSAI ANSI he SATIN i} RATIFICATION will be felt on all sides that it is now possible for the Radio Broadcasting Company to engage for ~fiid| 2YA quite the most outstanding colTection of £ rousical talent in New "Zealand as a per--manent orchestra. This progressive ‘move will certainly be welcomed by listeners, and unquestionably will strengthen the general programme service. The personnel of the orchestra is outlined above and is in itself impressive. Details of the careers of each performer are appended to the respective photographs and will substantiate and endorse the claims made on behalf of the combination. OW will the orchestra be used? Some original plans are in contemplation for getting the best out of the orchestra and, what will, we think, appeal particularly to listeners, the public is to be asked to co-operate in the nomination of the numbers to be played. This is an innovation which will be watched with interest in its outcome, as it constitutes. a direct invitation to the public to declare what its taste in orchestral music is. The method of nominating the music chosen is outlined later. FOUR NIGHTS A WEEK. HE programme devised is as follows:-The orchestra will be on the air four nights a week

-Monday, Tuesday, Friday and Saturday. The fields to be covered each evening are allocated thus :-- MONDAY: CLASSICAL. TUESDAY: OPERATIC. FRIDAY: POPULAR: SATURDAY: VAUDEVILLE, I'he orchestra on Monday night will always play a certain number of classical or standard works. On Tuesday there will be a proportion of operatic selections, but on both these nights there will also be specially chosen orchestral numbers of general interest, in addition to the featured misattmiiat alt SUMCERa

VV ISS AVA SYMONS, the unusually gifted violinist, who will lead the orchestra, is a New Zealander. She showed exceptional talent during her early studies with Max Hoppe, when she won first prize at the Napier Competitions, and also attained a similar distinction at the Auckland Competitions in the open class in the same year (1911). Her first orchestral experience was obtained at the age of 15, when, as a member of the Sheffield Orchestra she toured New Zealand. Miss Ava Symons was the only non-professional member of the orchestra. Whilst in Italy, where she received special tuition from Maestro Poltromeri, principal violin master of the Milan Conservatoire of Music, 1 great privilege was extended to this gifted violinist in that she was permitted to attend all rehearsals of the Poltronieri Quartet (string). In England she entered the Royal Academy, and studied there under the well-known violinist and exponent of the Auer School, Mr. Spencer Dyke, In 1919 Miss Symons in London was fortunate enough to receive tuitiun from the famous French violinist, Mdlle. Rene Chemet. It was this great artist who was responsible for Miss Symons sceuring the beautiful "Grand Nicola Amati’ violin which she now possesses. Since her return to the Dominion, Miss Symons has been heard at many concerts, and has given recitals with Mr. Frank Hutchens, Miss Constance Leatham, and, in Wellington, a series of most successful sonata recitals. Ter fame and ability are beyond question,

music. Friday will be devoted to a general popular orchestral programme chosen from the whole gamut of orchestral works, including a proportion of the most popular musical comedy selections, and the latest fox trots and jazz waltzes, and novelties. On Saturday, the programme will consist of light music of a vaudeville character, and will finish with three-quarters of an hour of jazz. THE PUBLIC’S CHOICE DESIRED. By outlining the capacity of the orchestra to us and stressing the high quality of the professional artists engaged, Mr. W. J. Bellingham, musical director, stated that they would have at command a complete range of orchestral music, and would be able to give a finished interpretation of any conceivable orchestral composition from symphony to jazz. We immediately saw in this claim an opportunity for satisfying the demand of the public for variety, and testing out the capacity of the orchestra, which Mr. Bellingham had stressed, desired to make its services of the most popular character. We therefore suggested that the public be given the opportunity, regularly, of selecting two of the items to be played each evening-one item to be a free request for any musical item of the same type as the evening’s programme, and the other to be a request for a repetition of the most popular

Brilliant Orchestra Engaged for 2YA

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ftem on the same evening of the pre-. wedimg week. This last would act as a perpetual popular vote on the items played, and would ensure repetition of the items most enjoyed. Further, by being made applicable to heth combined and solu items would act as a stimulus to the performers to give af their best. The other nomination of an item to be chosen would give scope for the direct record of the public taste. ¥\ R. Bellingham immediately accepted ""™ the tacit challenge of this offer, and agreed that two blanks would be provided in the programmes of each evening on which the orchestra ap-peared-the first to be the popular nomination of any item of the same class programme and the other a repetition ef the most popular: item from the

programme of the same evening in the ‘preceding week. , | AS a means of allowing the public. to express its wishes, we offered ta receive the requests of the public, analyse them, and make kuown the result fo the station director and orchestra a few hours before the evening per-~ formance. This was accepted, and details of fhe scheme of procedure will ‘be found om Page & The object of this procedure is that the work of the statiom shali not be interrupted by an unduly heavy mail or by telephone requests. No telephone messages in this connection will be taken either by ourselyes or the station-requests must be in writing. TO LEARN BY EXPERIMENT, THE conipany has Tt in mind, simultaneously with the institution of the orchestra, to experiment for a period in the direction of reducing the umount of alinounciug in order to give more music and less talk. This experiment will probably take the form of merely annonncing the nature of the next-item. ‘The psychological reaction. will be carefully watched in order to judge of its acceptability to the public. The present system of broadcast announcement is much like Topsy-it has "just growed"-and experiment may give a procedure which will eliminate delays and produce greater satisfaction to the listening public. NOTHER experiment contemplated by the company has a very important kearing upon the capacity of receiving sets to give listeners the best quality of reception, and is designed to enable them to detect whether their sets are catching and conveying to them all the sound put into the air by the station. As every listener knows, different sounds are conveyed at different vibration rates, and the finer tones require the highest rates of vibration. Some components of sets are not adapted to reproduce the finer tones, hence that listener loses those sounds and is not in a fit position to judge the music that is being broadcast. The test the company has in contemplation is to

broadcast different vibration frequencies embodying the ranges employed in the preduction of the nmsical tones of a standard orchestra. Full details of this froposed test will he given later, but Its utility in enabling listeners to test fer themselves the efficiency of their equipment im reproducing the full range of musical notes will be obvious. A BEARING ON POPULAR TASTE. PRE point raised here has quite a bearing upon the popular demand for jazz as a bioadcast item in comparison with orchestra items and highclass music. Jazz represents rhythm in inusic, and 110 matter what sort of set is used, rhythm can be heard, but poor sets would miss much of the best in high-class music. With the steady improvement that has heen taking place in reception sets, there las arisen. a demand for better music, this being due to the greater purity of the reproduction, and the full use made of the wider range of tones ‘The better class of nmsic depends upon the quality of tone, harmony, an-l.melody, and unless the listener has an effective set which is reproducing quality, st is ob-

vious the owner cantot get satisfactory reception and appreciate the guality of the music given. I,steners in general are coming to appreciate this,

anid unquestionably there is # wider. movement in favour of first-class reception components. ‘Ihe sauwe principie applies im the case of gramophones. In the old-fashioned records the lugh overtones could not be reproduded, aud it was imposible to tell ome imstrument of an orchestra from another, With the better reproduction now available, and the flexibility of the electrical pick np, etc., modern gramoplione reproduc- | tiom is am entirely different thing. GRCHESTBRA AND CONDUCTOR. As a factor in cutertainment the new 2¥A4 orchestra will take premier rank. Through it listeners generally will receive a wide range otf balanced and pupular music, The public will be given what it wants-in fact, uuder the scheine outlined the public will largely frrange its owl programmies, and we auticipate a hearty welecme and a brillias career for the uew orchestra under the permanent conductoiship sf Mr. Geo. Ellwood, whose career 1s so well known as to really require little recapitulation. He was born in Yorkshire, England, but came to New Zeuland ct such a very early age that he may well be regarded as a New Zealander. When only seven years old, tc commeticed the study of the ’cello, and under Mr. Hugo Gorlitz, a family tric later toured with remarkable success, young George being termed by the Press "a pocket edition of Gerardy." After this tour the trio proceeded tu Europe to study. London held them for .a few weeks, and then, armed with a letter of introduction to Jean Gerardy, they proceeded to Brussels, Gerardy, after hearing the lad of eleven play, sprang from his chair, exclaimmg "I will teach him for noihing !’’- a very great privilege, as Gerardy’s fee was. £4 4s. an hour. In addition te taking these private | lessons, George Ellwood enteted the | Liege Conservatoire, and was adinitted | ito Gerardy’s "master class "» On the conclusion of nine months" study he entered for the scholarship. aud gained the "Premier Prix.’* The only time

in the history of the Conservatoire that this great honour has been gained by a boy of twelve. The Liege Conservataire has long been famous for its string players, and such famous men as Gerardy, Eugene Page, Ovide Musin, Joseph jongen, Charles de Beriot, a:td others, too nunterous to mention, had received their training within its walls. After several years’ exnerience in Belginm and elsewhere, in 1913 George Téllwood returned to London to play at Madam Clara Bult’s preat conecrt it ithe Albert Hail, whieh was, so ta speak, the grand finale of. her wort? tour. Unfortunately, on ececount of il}health, he was unable to perform, and ‘Its place was taken by Jagucs Ifallwart, the great ’ccllist. Later, on the completion of a snecial course in hartony at the Guildhatt Schoo! of Music Mr, Ellwood again returned to New Zealand, and establishing himself as a teacher in Christchurch, where yery quickly he won an enviable reputation.

Amongst his weil-knowtt pupils at that time was Mr. Haroid Beck, the ’’celtist ot the talented trio whe nowadays ‘broadeast from 3YA, Christchurch, In 1918 Mr. Hilwood once more turned his face towards Europe, proceeding to Brussels, where he commenced a2 course of composition, instrumentation, and conducting, with Josepi: Jongen, the director of the Brussels Conservatoire, also studying singing and choir training with Maurice Weynandt. Mr. Ellwood om this occasion remained on the Continent for nearty four years,

E is not very often that a small. boy of seven commences his musical studies on the trumpet and continues with that instrument throughout his musical eareer. Such, however, is the history of Mr. Harry Berry, the cornetist of the new 2YA Orchestra, Winner of numerous championships, about 23 all told, My. Berry has also the distinction of being a champion of champions, which title he won in Sydney. Mr. Berry first came to New Zealand on tour with the First Australian Band (Redfern) as soloist, and was with this band when it won the ehampionship title in Dunedin in 1928, retutning to Australia where, in 1924, he eaptured the gold medal for an original composition, In 1925 Mr. Berry returned fo New Zealand under special engagement to the Wanganui Garrison Band. ga which he played as. professional cornet when they won the Dominion Championship in the band contest held in Dunedin at the time of the Dunedin Exhibition. Again Mr. Berry returned to Australia, only to be brought over some months later (1926) for the purpose of re-| organising the Wellington Tramway Band, which he condueted for about twelve months prior te accepting a position at Fuller's. In 1928 Mr. Berry was engaged by the Woolston Band as professional cornet. My. Berry has acted in the capacity of professional cornet and | conductor since the age of twelve, at which time he formed and conducted a brass band of twenty-two youthful enthusiasts at Warrnambool, Victoria. Mr. Berry has also had about twelve months’ experience in broadcasting, having appeared before the microphone of 2FC, whilst in Sydney, Following are a few press notices:-Sydney News: "Mr. Harry Berry created a world’s record for high range playing. Has a compass of 5% octaves. Bie, ete, Australian Musical News: ‘Mect Mr. Harry Berry, the magician of the cornet." Tyttelton Times: "Ilis dainty call-like tone provided the crystal gem of the evening."

(. W. HE. McecLEAN, who for the past two and. a half years has been the Jeading violinist at the Paramount Theatre, has also joined the new 2YA orehestra. Mir Mecean is a gifted violinist, with many years of orchestral work to his credit, haying held the positiom of leading violinist at the Public Tiall, Redditch; Temple Theatre, Dudley ; Cinema De Iunxe, Chester; the Picture IIcuse, Birmingham. (Dight years arehestral experience.). Mr. Mclean was a student at the Birmingham Conservaloixe for twa yeurs, where he studied under Mr. Hyteh. Locally he has continued his studies under Miss May Donaldson, Premier Prix, Brussels,

At an early date Mr. Frank Huggins, the double bass of the new 2¥A Orchestra, displayed undoubted ability as a fine musician, His first instrument was the violin, and at the age of fourteen he made his debut in orchestral work by appearing with the Theatre Royal Orchestra in Timaru. Later on he undertook the study of the ’cello and double bass, Not satisfied with this he alse made a study of the trombone and menstre bass, a wind instrument of huge proportions. For seven years he was associated with the North Bast Valley Band, Dunedin, as trombone soloist. He has filled positions on the leading theatre orchestras both in Dunedin and Wellington, having for many years held a seat with the Grand Opera House Orchestra: as ‘cellist, which was in itself a distinetion, as a new orchestra was employed for each performance as it came along. Mr. Huggins studied under Richard Langdon and Signor Squarise, and has had some thirty years’ experience as on orchestral player. He declares he finds -@ great deal of satisfaction in playing the double bass) Such a versatile player should prove of great value to the 2YA Orchestra.

‘CYNE of the youngest members of the orchestra, Mr. S. Barrett, rose to the dizzy heights as a clarinetist whilst on | tour with. the Argyll and Sutherland Highland Band. Mr. Barrett was born .in London, and commenced his musical eareer with the study of the clarinet at the age of eight, and has continued in this direction for about seventeen years, At the age of fourteen he joined the Argylls, and was associated with them for nine years, and it was during this time that he received all his instrumental knowledge. During this nine years of association with the Argyl and Sutherland Highland Band, he went on tour with them some seven or eight times. England, Sedtland and Ireland were some of the points visited, whilst an extended tour of six months was conducted in France. In 1925, during the Duncdin BExhibition, the Argylls came to New Zealand and participated in the band contest which ‘was held in Dunedin at that time. Afterwards a tour of New Zealand was alsy conducted, Mr. Barrett acting as soloisr during this time. When the band re | turned to Scotland Mr, Barrett went with ‘them, only to return to New Zealand ‘about eighteen months ago. His first en* gagement was with the Empress Orchestra, Tater he joined the ‘Paramount Theatre Orchestra, and only leayes them to take up his new duties as a member of the 2¥A Orchestra,

TEX. M. 'F; DIXON, the pianist of the new orchestra at 2¥A, was born in Durham, Jingland, and received his sceondary education at Bede €ollege.. At a Jater date he finished his musiextk studies under Mr, Yerk Bowen, of the Royal Acadery of Musie, Coming to New Zealand, he wndertook concert tours with J. and N. Pait as sole pianist and accompanist. , The following are a few excerpts from newspaper criticisms :-Lyttelton Times: "Much might be written of Mr. Matthew Dixon, who is a fine exponent of the pianoforte. As a soloist and acrompanist he leaves little te he desired." | Auckland Star: "A pianist of more than ordinary calibre." New Plymouth Herald: "Proved himself a highly proficient pianist," Hawke's Bay Herald: ‘Plays with considerable insight and clear execution." Christchureh Press: "Displayed delieacy of tone, taste and feeling." Tater Mr. Dixon was associated with theatrical wovk, acting as orchestral conductor at various theatres, finally being appointed musical divector at the new Regent Theatre, which position he held until accepting the appointment with 2XA,

ME 8. J. FORREST started the study of the trombone just beeause his people wanted him to take up something else. When he was twelve years old he joined a brass band. He received his education at Marlborough College, South Island. Whilst in the Seuth Island he was & member of the 10th Mounted Reginiental Band as trombonist, and exme to Wellington some years later. He was a member of the ist Batalion Band and Waterside Workers’ Band at the same time, playing soloist in both. Later he joined the Port Nicholson Silver Band. He commenced his ofchestral worl when he joined the Jazzola Band. He was with the popular "Dixie Boys’ Six" jazz band, which was one of the first jazz bands in Wellington, and was the rage five or six years ago. From dance orchesira to grand orchestra work was but another step in this brilliant trombonist’s career, and he subsequently joined the Wellington Professional Orchestra as_ soloist, staying with them for about three years. He then joined the Regent Orchestra from its inception, and was with it until February of this year. Mr. Forrest then reyerted to dance music, when he joined the Cabaret Gaiety Palais de Dance. He became a member of the Fuller Orchestra, and leaves them to join the new 2YA orchestra. He toured New Zealand with | the Walter George Sunshine Players in 7928. }

i R. TL. W. PROBER'E, druminer, dropoed into the drumming busines years agu, more by aecident than design, his musical carcey commencing with the ‘piano as a boy. His hekby has always been music, and as a recreation from ‘mundane things, and as the resnit of a hrequest by the old Garrison Band, under Lieut. T.:'Herd, he commenced playing the big brass drum for them, and ineidentally earned the nickname of "Banghard" from ‘his friends. _ This recreation was pleasure enough until he found that when playing at autside performances, the Tramway Devartment had built all the trams too narrow at the econductor’s end to take the big ‘bass drums. As the department conldn’t isee its way clear to alter the trum cn‘trance, and as the band couldu’t siter the drum, Mr. Probert decided to learn the side drum, which would be more convenient to earry, With this end in view he received first lessons in munipu‘lating the sticks from Tommy McGregor, a well-known side drem player in WelTington, and at a later date he continued ‘these studies under the Iate Mr. Herbert ‘Bloy, an expert on percussion instruments. Somewhere about 1911 or 192 Mr, Probert applied te Mr, Walter Fwier at the old Theatre oyal, Lambton ‘juny, ‘for a job in the orchestza, and was asked to attend rehearsal, This he did, with disastrous results. The band had finished the last notes of a lively march whilst he was still looking at the first few bars, Fhe manager very kmdly told him to have about a year's practice and then come back, Wwelve months later he again.applied, and was fortunate in secnring an engagement in the new His Majesty’s Theatre, when it opened in Courtenay Place. Wnder the exceileat guidance of Mr. Frank Crowther, he progressed famously with the drumming business, and since that time has pleyed for almost every conecviyable classy of performance, from. light popular numbers to grand opera. Mv. Probert has given up playing time and again, but the demand hes always brought him baek again,

XM R. CEAUD TUCKER, the wellknown Wellington flautist, should be a decided acquisition to the 2¥A Orehestra. He has principaily appeared as 2 Soloist, and is. well known to the Wellington concert-goer. For some years past Mr. Tucker has been first flute of the Wellington Professional Orehestra. A, ‘pupil of Signor A. P. Truddx, who considered Mr. Tucker his most promising pupil, he has made 2 special feature of obbligato playitig. During the tour of the celebrated flautist, John Amadio, some ‘Six years ago, Mr. Tucker was compli‘mented by this gentleman for his very fine performence, Mr, Tueker has appeared ‘in the Wellingtom ompetitions at dif‘ferent times, and secured , three _ first ‘prizes as soloist. He commenced © his: istudies of this instrument at the early ‘age of ten, and at twenty-six has aecomplished as fine a tone and finesse whieh should contribute largely to the snecess of the orchestra,