Broadcast Music for Coming Week

Radio Record, Volume II, Issue 41, 26 April 1929, Page 27

Broadcast Music for Coming Week

By

Bolton

Woods

"Tis the deep music of the rolling world, . Kindling within the strings of the waved airAeolian modulations." -Shelley. ----_-_- —

Offenbach Again. HIS lovely boat song is sung as a duet in the Venetian Scene in the opera, "Tales of Hoffman," by Offenbach. It oceurs later in the opera as an orchestral "Intermezzo." It is a typtal barcarolle. The’ music suggests the'gehtle swaying of the gondola as it glides through the moonlit water. The accompanying words are a rapturous love poem, in which the lovers sing of the beauty of the night, imploring its blessings on their enchantment. The "Venetian Scene" is the second of the adventures of Hoffman, in which he falls in love with Juliet, who. however, has only engaged his affections because Hoffman boasted that he was proof against her fascinations. When he goes to her house to visit her, he finds that she has fled with her chosen admirer, and thus the second love dream of Hoffman is shattered. .M‘’-s Nora Greene and Mr. Roy Hill will sing the Barcarolle, "Night of Stars" at 2YA on Monday, April 29. ve Saint-Saens in Grim Mood. . LEGEND popular in the middle ‘ ages tells us that ‘on Hallowe’en the dead ,in the churchyards arose from. their graves and indulged in a wild carnival at which Death, the monarch of all, held court. It is this hideous Danse Macabre-‘Dance of Death’’-that is depicted in this famous composition. It opens with twelve strokes, indicating the striking of the clock at mid-night-the signal of the impatient hand of Death calling to the revel. In obedience to the summons the spectres arise from "‘eir graves and approach for their part in the ghastly dance. Death tunes his fiddle, and the ghostly multitude "reel to his maddening measures." The dance is interrupted by a lyric passage, brief but extraordinarily sweet, representing the despairing ,condition and hopeless longing of the; dancers, but Death plays on,-and the) night wind sings through the cypress-trees. The dead must needs dance, and the revel grows’ wilder. Sudden'y there comes a bush, and the crowing of the cock is heard. The dawn has arrive" and the ghostly festival must end. The spectres hasten away to return to their graves. Death plays a last wail on his fiddle, then he too, leaves the scene. The orchestra at 2YA will include "Danse Macabre" in their programme on Monday,. April 29. ESE

"To Music." "THE original words of this song were written by Schubert’s friend, a Swede. named Franz Schober, who survived the «omposer 55 years. The poet left Vienna in 1817 for a year’s holiday in his native Sweden, and ‘it was about this time that "To Music" was written. It was through Schober that Schubert met the famous operatic tenor, Vogl, who was to make an electrical success with the "Erl King." Schober was a young student in Vienna und Schubert formed a high opinion of his character. The sung, "To Music," is all the more interesting when we learn that it was through its author, the composer’s unselfish friend, that Schubert was enabled to throw off the fetters of his position, and devote himself exclusively t~ music. "To Music" will be sung by Miss Nora Greene on Monday, April 29, at 2YA. An Early Mozartian Opera. AS has happened in several cases, the opera is dead, but the overture remains. Mozart’s one-act comedy was first produced in 1786. Its original name was Schauspieldirektor. In Bngland it was called "The Manager," and the French production "L’Impresario," the name by which the overture is always known. It is to be regretted that Mozart died at such an early age; he has left us some wonderful music, but had he lived longer, there is no estimating what he might have done. The "Impresario Overture" will be put on the air by 8YA on Sunday, April >) mee Heine and Schumann. NY student of the strange and romantie career of Napoleon, the Man of Destiny, will learn more and "feel history" more by hearing a good rendering of Schumann’s "Two Grenadiers," than by reading all the books written by those who either hated the Hmperor or loved him. The words are by the great German poet Heine. The song is therefore the work of two men who had every reason to hate the tyrant. But the two grenadiers, returning from tbe disastrous Russian expedition and hearing that France is ruined, excite our pity and admiration. In this moving song the one is badly wounded, and begs the other, his friend, to see that he is buried in France. As he speaks of his country the air of the "Marseillaise" is heard. We have here a small indication of the ’ devotion with which the great soldier inspired his troops. The. final chords

in the minor key clearly indicate that the soldier dies. Mr. T. D. Williams will sing "The Two Grenadiers" at 3YA on Sunday, April 28. ; A Swiss Hero. "WILLIAM Tell," the last of Rossini’s operas, was first perforrhed at Paris in 1829. The libretto first supplied was a translation of Schiller’s famous drama, but it proved so uninspiring that the composer called in the aid of Armard Marrast. The overture is full of interest, especially the second section, with its hint of the wonderful storm scene in the opera, and the final stirring march. Rossini retired at the early age of thirty-six, and was so utterly lazy that he did most of his composing while in bed. It is said that on one occasion he was completing a new song when the sheets fell on to the floor.-Rather than disturb himself to the extent of getting up, he re-wrote the whole thing ! The "William Tell" overture will open the programme at 4YA on Saturday, May 4. Champagne Standard. ‘«rPHD Gondoliers" was the twelfth joint effort of Gilbert and Sullivan, the famous partners in English light opera. It was at the time this work was first produced that there oceurred the temporary break in the most wonderful combination of the English stage. There was a dispute over the purchase of a carpet. It had

been bought, and Gilbert had not been consulted. Fortunately the break did not last very long, and their later works show that it did not affect their ability to work together. The overture to "The Gondoliers" is a succession of gay tunes lightly strung together, just. the right thing to prepare one for the frolicsome scenes to follow. . It is interesting to note that this opera is a. great favourite with Their Majesties the King and Queen, and they often take the opportunity of seeing it, appearing very amused at the comical situation of the joint kings. The overture appears on 4YA’s programme for Saturday, May 4, Hebridean Music. MES. MARJORY KENNEDY-FRA-SER was born in Perth, and is the. daughter of David Kennedy, the famous singer of Scots songs. At the early age of twelve she toured with her father as accompanist, and when fourteen, she sailed, with him, round the Cape of Good Hope to Australia for a world tour lasting four and a half years. Later she studied opera at Milan, and later received instruction from Marchesi in Paris. In 1905 she visited the Outer Hebridean Isles, and since then she has specialised in Celtic music research and original work, converting the treasure of national melody preserved by the Island Gaels into art songs without sacrificing the orA ET Te

ginal character of the melodic material. Miss Mollie Atkinson has chosen one of these songs "An Driskay Love Lilt" as one of her items from 1YA on Sunday evening, April 28. A Herrick Ode. "TO ANTHBA" was first published in 1850 in a volume of Herrick’s songs set to music by John L. Hatton. In the preface to this volume Hatton says that the songs were not composed with the intention of having them published. Most of them were given as souvenirs to his friends at various times, and when it was decided to publish a number of them they were kindly lent by the owners. There is a much older setting of this song by Henry Lawes which was published in 1669, but as this was not well known Hatton may not have heard of its existence. Hatton was born in Liverpool in 1809, and was self-taught. He: produced an operetta at Drury Lane, London, and later was director of music at the Princess’s Theatre, under Charles Keane. While holding this post he composed incidental music for a number of the Shakespearean plays. Mr. R. Stephenson will sing "To An- thea" at 1YA on Sunday evening, May 5. "Martha." HE survival of "Martha" for so many years when the majority of its contemporaries have long since been

forgotten, can be due only to sheer merit. Flotow produced no other very outstanding opera, and very little of his work is now heard. This opera was first produced in Vienna in 1847, It contains several very tuneful numbers and the overture is always a fayourite. It will be performed by the orchestra at 2YA on Friday, May 8. A Quartet with "Go.". HAV you ever wondered what your first feelings would be were you informed that you were really king or queen of a country which you had never seen? In the "Gondoliers," there are the two couples, with one of the men the king of the isle and his wife, queen. The words by Gilbert are splendid and Sullivan’s music has a rhythm which carries an audience off its feet. We are told that on the first night of the opera, the occupants of the pit and gallery provided an extempore entr’acte by whistling this tune with the greatest energy, to the great amusement of the more staid patrons in the stalls and circle. The Philharmonic Quartet will sing "Regular Royal Queen" at 2YA on Friday, May 2. ; A Lovely Duet. "THE opera, "La Boheme," is a very faithful picture, by turn amusing and pathetic, of life in the poor artists’ and students’ quarter of Paris in the eighteen-forties. The life was extremely hard, but those who lived it found

among the grisettes of the Quarter. Rudolf the poet and Marcel the artist are working in their attic, alone. Their sweethearts, Mimi and Musetta, have gone, and they are both very miserable. Suddenly they throw down their peu and brush and cannot keep up the pretence any longer. Rudolf sits and gazes at Mimi’s little pink bonnet while Marcel caresses a bunch of ribbons. They then pour out their woes in a moving duet, in which each tells how through all his attempts at work he is haunted by the eyes and the hair of his fickle love. Then Rudolf trying to hide his emotion from his friend turns and earelessly asks him the time. Marcel starts from his dreaia, and the old Bohemian spirit asserting itself again. answers cheerily, "Time for yesterday’s dinner." A record of this duet, "Ah, Mimi, you will never come back to me," sung by John Hislop and Apollo Granforte, will be used at 2YA on Mondey evening, April 29. "The Pathetique." "[SCHAIKOWSKY’S Sixth Symphony was performed for the first time at Petrograd, October 28, 1893, the composer conducting. It received a luke-warm reception only. The morning after the concert the composer was discussing with his brother, Modest, the sending of the Symphony to the publisher. It had not been given a title and Tschaikowsky was not satisfied with just "No. 6:" Modest wrote, "I suggested ‘Tragic,’ but this he rejected. I left the room before he had come to a decision. Suddenly I thought ‘Pathetic.’ I went back to the room, and I said the word to Peter. ‘Splendid, Modi, bravo Pathetic,’ and he wrote in my presence the title that will forever remain." Writing of the work to his publisher, the composer. said, "This Symphony met with a singular fate. It has not exactly failed, but it has incited surprise. As for me, I am prouder of it than any other of my works." . This Symphony will be heard from 2YA on Thursday evening, May 2, being one of the items relayed from the Wellington Symphony Orchestra’s concert in the Town Hall. "Arms and the Man." STRAUSS’S charming opera, "The Chocolate Soldier," is founded on George Bernard Shaw’s clever comedy, "Arms and the Man." The opera has enjoyed astonishing popularity, and as is to be expected from an opera of Viennese origin, it contains some enchanting waltz themes. One of the most popular is the solo, "My Hero," and the melody is a good accompani-

ment to the good old-fashioned grageful waltz. On Saturday, May 4, 2YA is makihg use of a record of "My Hero,’ sung by Virginia Perry and chorus. © —