Broadcast Music for the Coming Week

Radio Record, Volume II, Issue 36, 22 March 1929, Page 2

Broadcast Music for the Coming Week

By

Bolton

Woods

The Druids’ Opera. operas can boast of as good and effective a libretto as that which Romani wrote for Bellini’s » The fact that the Woolston Band is playing a "Norma" selection next Monday at 3YA makes the subject of this remarkable work appropriate of discussion. Felice Romanic as poet for the Royal Italian theatres wrote 100 books for the operas of Mayr, Bellini, Rossini, Donizetti, and others. He took for his subject a French tragedy which he turned into lovely Italian verse. The story concerns a Druidess, who gives the opera its name (Norma), Adalgisa, a Virgin of the Temple of Irminsul, Pollione,.a Roman Proconsul, and Orovess, an Arch-Druid, Norma’s father. Herself a Druid High Priestess, Norma has broken her vows and secretly married Pollione. They have two children. But their father’s love has vanished. In _ the first act we find he is, on his own confession, enamoured of another young priestess, Adalgisa, of the Druidic Temple of Irminsul, the Druids’ god. We have at once an entanglement that grows more complicated as the opera progresses. The story is in the main a fascinating one, but too long to un-

fold in these columns. ‘The finale sees Norma and her husband burning to death on the pyre built for the express purpose of consuming Pollione, who has been discovered intruding in the sacred grove whither he had gone to earry off Adalgisa by force. Norma tells an enraged populace that with the Roman must die another victimnamely, herself. They perish together. With this work Bellini wou his fame and ‘crowned his successes. It is in the richness of melody where Bellini excels, and this has made "Norma" the favourite opera it always has been for the past ninety years or more. 7 "4 Sigh." HE "Htude in D Flat," by Liszt, which is to be played at 1YA on Thursday, March 28, has a sub-title, "Un Sospiro" (a sigh). It is hardly a sigh of regret, but if of regret, then it is coupled with the happiest memories which crowd themselves into the musical utterance until it overflows with fervour, Its exquisite melody with its running accompaniment is typical of Liszt, and the manner in which he enriches it as the work

proceeds gives us a fine example of his genius for writing effectively for the piano. The beautiful sweep of its arpeggios has made it a great favourite, and it shares with "Liebstraum" and the second "Hungarian Rhapsody" the palm of being the most popular of Liszt’s compositions. "The Toreador’s Song." N Bizet’s opera, "Carmen" the scene. of the second act is laid in a room in the tavern of Lillas Pastia, which is the meeting-place of the band of smugglers of whom Carmen, when not engaged in other immoralities, is occasionally one. Before very long there is a great stir among the characters on the stage, and the cry goes up, "Hurrah! The Toreador! Hurrah! Escamillo!" A torchlight procession is passing in honour of the conqueror at the Grenada bull fight. Those present drink the health of the toreador, who enters, is greeted joyously by all, and, in the famed song, tells of the scene in the area when a bull fight is toward. A great deal of the superb effect of the song comes from the strength of the very original rhythm. To each stage of the graphic description of the bull fight is appended a refrain in the major, in which the toreador turns to thoughts of the bright eyes that are fondly regarding him, and the impressionable hearts awaiting him. In this refrain everybody joins, and at the second time the whole company carries it to a vigorous conclusion. HE singer of this glorious operatic solo at 2YA next Tuesday is John Brownlee, a worthy protege of Dame Melba. As one who has added to the lustre of Australia’s musical fame, John Brownlee scores heavily on the record, H.M.V. D1396. Grieg’s Only Concerto. RIEG’S Concerto in A Minor is the only composition by him in this form. It was first performed by the composer himself in Leipsig in 1879, and immediately established his reputation as a composer and pianist. It displays his remarkable gifts for the invention. of exquisite melody and deep feeling for effectiveness in orchestral writing. The various movements of the work are admirably contrasted. There is a haunting beauty in his harmonies, and the whole composition glows with the Norwegian . colouring with which Greig painted the musical picture. Composed when he was in his twenty-fifth year, while spending a summer holiday in Denmark. It has all the freshness of a youthful work. At the time he was deeply influenced by two remarkable compatriots, Ole Bull, the violinist, and the young musician Nordrask, who died before he achieved a reputation. The love of his land‘and its music clung to Grieg throughout his whole life. Like Chopin and Glinka he was a national poet, and to hear his music is to recall a line of our own poet William Watson: "The north has my heart to the end of the way." Ignaz

Friedman, pianist, has recorded the work with an orchestra on four superb records, two of which, containing the second and third movements, will be broadcast by 4YA next Tuesday. A. greater English poet than Watson, Tennyson, says, somewhere, "Dark and true and tender is the North." Grieg’s Concerto convinces on this point. It fairly breathed Norway. "Home, Sweet: Home." "THE words of this song, which i be sung as a quartet at 1Y. Madam Mary Towsey’s vocaligg Thursday (March 28), are by J. ard Payne, an American actor, journalist, and dramatist, who flourished in London at the beginning of last century. In one of his plays, "Clari, the Maid of Milan," he introduced the immortal ballad which was set to music by Sir Henry Bishop, the opera being produced at Covent Garden on May 8, 1823. In the published music it is ealled a "Sicilian air," but no evidence is forthcoming that such an air has ever been known and sung in Sicily, nor was the collection of folk-melodies begun in Burope-at all events in the south-at this date. It is most probably a melody of Bishop’s own, but Parke in his "Musical Memoirs" states that he took it from a German operaa doubtful statement, as, had that been the case, its origin would certainly have been discovered. aa Sullivan, the Procrastinator. FORTY-FOUR years ago to the date when this note was penned (March 14) Gilbert and Sullivan’s Oriental opera, "The Mikado," was produced at the Savoy Theatre, London. ‘That the composer was a hopeless procrastinator in his work was, alas, all too true. His diary entries are frank confessions of this weakness, which attacks less brilliant men than "The Hnglish Schubert," as he has been called. Between February 21 and March 1 he did not emerge from his room except to attend the Savoy rehearsals, and one solitary conducting engagement. His own diary reads :-"March 2: All these days since February 21 writing and rehearsing (‘Mikado’). No drives, parties or recreations of a kind." And again on March 3: "Worl; ed all night at Finale, first act. JFaished at 5 a.m.; 63 pages of scoring at one sitting!" Three days later he finished scoring Act II at 5.45 in the morning. He composed "The Flowers That Bloom in the Spring’ one evening between tea and dinner. The completed music of ‘The Mikado" was in the hands of D’Oyly Carte just a week before the date fixed for the first night. One may suppose that there was no need for this rush, that the first night might well have been postponed. But Sullivan always worked best in light opera when the calendar stared him in the face. His temperament, unlike the usual temperament of gen- {/ ius, was willing to yield to discipline: when discipline was required. Because he loved his music he was always as happy under discipline that brought production as in those days when he was a free agent to enjoy himself in leisure.

"(, The great first night came, and went, to be followed by over 600 others of a continuous run of this, the most popular of aJl the Savoy operas. The orchestral selection, to be played on Saturday (March 30) at 1YA and its jocnnd strains will be as eagerly listened to as they were by our parents and grandparents last century. "Sonny Boy." AMONG the wonders of science in the second half of the present century none is more marvellous than the "talking film." The expression "talking film" is American, and in that country gramophones are still called by the name that was given them fifty years ago when Edison produced his original phonograph. © of the first of the "talkies" is a fil; of super-sentimentality called "ne Singing Fool," the story of which is a tragedy of modern stage life and is, alas, all too common in real life. The principal part is’ taken by Al Jolson who, in the title role as Al Stone, is a singing waiter and songwriter at "Blackie" Joe’s. Molly Winton, star entertainer, haughtily ignores his affection and refuses to sing a song he writes for her. Consoled by Grace, a cigarette girl, Al does the number himself and is a tremendous hit. Molly, sensing his success, puts herself back in his good books. Al and Molly marry and gain’ considerable fame. Al is very happy with his admiring followers and Junior, his son, but Molly does not love him. On New Year’s Eve she elopes .with John Perry, taking the child with her. Haggard and broken he singer wanders back to "Blackie" Joe’s, where once again Grace inspires him to "stage a come-back." One night Al is called to a hospital where Junior is dying. He sings his heart out in a last lullaby to put his son to eterna] rest. Stumbling out past Molly, the singer reaches the theatre in a dazed condition. Made up, out on the stage, Al breaks down trying to sing that "last lullaby." This film has called forth an insistent demand for a record of "Sonny Boy" by the original "Singing Fool" (Al Jolson), to which Brunswick has responded with a most realistic version of the song. . ‘At 2YA on Thursday (March 28) "The Fatherly Fellow" will feature this popular song. & Passiontide and Eastertide. UITH to the manner born, the four ‘* YA stations for broadcasting in New Zealand adapt themselves naturally to the religious aspirations of the people and provide either by re-broad-cast or from their respective studios suitable Passiontide and Wastertide musical fare for their listeners. Stainer’s still popular "Crucifixion" will be relayed from Beresford Street Congregational Church by 1YA on Palm Sunday (March 24), and from St. Thomas’s Anglican Church, Newtown, on Good Friday by 2YA. Originally written by the late Sir John Stainer and dedicated to the choir of St. Marylebone Parish Church, London, where he was organist in 1885, the work has been sung qcvery year since by the same choir, md it is a beautifully reverent and appealing Meditation on the Passion of our Lord, the words being selected and written by the Rey. J. Sparrow-Simpson, M.A. The work itself appeals simply and directly to the listener, for it brings the varying scénes of its poignant story

before him with intensely dramatic vividness. Appropriate studio programmes will be broadcast by the other stations after divine service on Palm Sunday. On Good Friday (March 29) Maunder’s Sacred Cantata, "Olivet te Calvary," will be presented in the 2YA studio by the Island Bay Wesley Church choir. This work rivals Stainer’s "Crucifixion" in popularity, and whilst it is simpler in construction, it is highly effective when well sung. Bach’s "St. Matthew’s Passion" is peing relayed by 8YA from the Christchurch Cathedral on Good Friday, and with that efficiency that characterises present-day broadcasting all the solemnity of the cathedral atmosphere and thé occasion will be apparent to listeners. A book could be written on this one work by Johann Sebastian Bach and listeners will recognise the inspirational force behind the music. The relays of services on Kaster Sunday will meet with approval from the mass of listeners who will have no cause to complain of the fine studio programmes that follow as a matter of course. ‘An Easter Hymn. T 38YA on the evening of Easter Sunday a fine record of the Easter Hymn from Mascagni's "Cavalleria Rusticana" (Parlophone AR1005) will be broadcast. It is certainly one of the most popular selections from that fine little work, and the solo by Emmy Bettendorff is of much merit, her intoning of Santuzza’s lovely prayer being most thrilling. The fine ensemble of chorus and orchestra always produces an electrical effect upon those who hear it. The general belief is that Mascagni’s fine opera is one of a single tune-the famous Intermezzo-but this is not the ease. Although this selection made the composer world famous over-night, the opera is as full of gems of melody as an egg is full of meat. The singing by a German chorus on this record is rather slow to the mind of the writer. but this is a natural failing-ponder-osity being overestimated in the Father. land.