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Radio Record, Volume VI, Issue 25, 30 December 1932, Page 8

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XN the inauguration programme of the new Empire station we were warned by Sir John Reith, DirectorGeneral of the B.B.C., not to expect too much in the initial stages, and harmony-lovers, with an elementary knowledge of the idiosyncrasies of short waves, happily have expected and eontinue to expect nothing but distortion more foul than discord. As I write-at the conclusion of Low’s talk-I am hopeful: that the novelty of rebroadcasting has almost run its course, but having received an index of the fare available, I have ready 2 Warm welcome for the Blattnerphone tape. Intelligibility of the talks, ranging from about a farcical one per cent. to a poor eighty per cent. in scattered places, does not suggest to me that the service can be an indubious harbinger of peace, although it is dedicated io the best influences in mankind. As an act of grace listeners may be prepared to accept the dedication in its spirit, providing aural reminders are infrequent, and while with best wishes trust that signals will improve in time many will remain convinced that years ago PCJ was a wonderful transmitter which was ushered in without a sereed of altruistic bunkum.

ROADCASTING brings under the notice of the publie at large an enormously extended repertoire of music of very conceivable variety. In the matter of Christmas music this is certainly true, and the lovely "Christmas Concerto" of Areangelo Corelli, the eighteenth century Italian composer, is a notable example, for which listeners to 4YA, Dunedin, would be yery grateful, The history of this masterpiece goes back 220 years. to the Christmas Eve of 1712, for which it was composed. ‘The series of coneerti .grossi which Corelli left us are Jaid out for the same team as the better known ones of Handel-a little group of: solo strings and the main pody of the string orchestra in five parts. It is on the contrasts of these and their combination that the concertos are built up.

ORELLI has a twofold claim to an honoured place in the history of music-as a great violinist, who set the art of violin playing on the foundation on which it has ever since rested, and as a composer who did a great deal to advance the art of wriling both chamber music and for orchestra, A simple and kindly soul, he was the friend of both Handel and Scarlatti, and Handel was inclined to make game of Corelli’s simple, decidedly careful and unassuming ways. It is told of him that he would always rather walk than ‘hire _@ carriage, and that he cared nothing for fine or even presentable clothes. Ho left behind hima voluminous collec. tion of very fresh and attractive music, # great gallery of fine naintings which t

he gathered together, and the very considerable fortune of £60,000 in cash. * ar Xe HIE pictures and money he bequeathed to his friend, patron, and employer, Cardinal Ottoboni, whose orchestra he conducted. To the cardinal’s credit, be it said, that though he took over the art collection he sought out Corelli’s relations and divided the money among them. Corelli travelled extensively, being the forerunner of yirtuosi such as Paganini, Sarasate, Ysaye, Kreisler, and Szigeti, Although Handel, the bluff Saxon, twitted Corelli with "liking nothing better than seeing pictures without paying for it, and saving money," Corelli bequeathed the world a priceless legacy of rare compositions, including the "Christmas Concerto," which is the eighth of the series, and one of the most charming.

NE would, imagine that the mortals of Hollywood would become thoroughly satiated with the excitement due to the production of a premiere picture and take such an event as 2 matter of course, According to Mr, LB. Bernard (2ZW), if a new world premiere piecture were launched each week, profound inquisitive interest would stil! continue. Ilollywood is IJlollywood, and the existence of everybody resident there is dependent upon moviemaking. Prior to the initial showing of a new picture for world reproduction, 2 considerable amount of publicity is given by newspapers, magazines. and posters throughout the length and breadth of the Uniled States, to the plot, the theme, and fo the betterknown participants. On the night of fhe first showing the searchlights from assoclated theatres are erected along

the sidewalks, and’ when the illuminations are fully operating the scene is indescribable. All Hollywood is in a fever of excitement. * a Re AU?tHouGcH the capacity of the theatre is small (about 1500), and showing does not start until 10.80 p.n,, crowds commence to congregate at the entrance early in the morning. ‘The price of admission is about £2/10/- in. English money, if one is. fortunate enough to secure a ticket when they are first issued, as speculators buy up blocks of seating and charge high premiums to intending visitors. When Hol: lywood is compressed into the space fronting the theatre, radio. announcers describe the scene to the remainder of the United States, and leading characters in the production are invited to make a few remarks to please their absent admirers. At the conclusion of the initial screening comes the party at the Roosevelt Hotel, and in American. this is some party. Following all this, the country is then ffooded with articles and announcements, to whet the enthusiasm of theatre proprietors and their patrons. Publicity is the instrument by which Barnum’s dictum. "You can fool the publie all the time," is given practical demonstration. Further publicity is generated by the private parties of the leading stars, professional jealousy knowing no better method of seoring off a fellow member of the firmament, and according to Mr. Erie Linklater, these. parties also arouse more than:a little interest.

RATORILO is usually very well done in'New Zealand, and consequently this form of church music in-

vokes a partiality among all musiclovers. . The rélay by 2YA of immortal Handel’s. glorious "Messiah" from Lower Hutt was a most splendid performance, and a very pleasing feature was the distinctness of enunciation. As a rule, choral work broadcast from a church suffers in this respect, but on Sunday few words were lost in the echoes. , r x i R.- -VOCO’S pot-pourri programme "4 veminiscent of his contributions throughout the year was a bright’ ?ffeir, recalling many pleasant given during 2ZW's Tuesday nights’ transmissions. Fiven neryous number 38 jogged the memory of a quite joyful series. Alloyed fractions are not the usual fare submitted. by Mr. Voco. end one of the most appealing features of his programmes is that they are mastly built .-upon a well-conceived theme, with the solid foundation of the best recordings. The talks have ‘invariably been extremely interesting. and his best wishes for a Merry Christmas were heartily reciprocated, by his many listeners. / "

TROM "Ta Source" (The Spring). one of Delibes’ many successful and tuneful ballets, two suites have been made. The present composition is divided into four short parts, and of the other, the first suite is the famovs "Naila,’ the concert waltz of which. by Dohnanyi, is familiar through Backhaus's. exquisite record. These two suites were the first important compositions of Delibes, who in his twenty-fourth year was established as one of thé accompanists: at the Paris Opera Tlouse, where he had distinguished himself by his industry and excellent musicianship." He is suid in particular to have attracted aitention to himself by the manner by which he played the full score of Meyerbeer’s. "L’Africaine," : at the time considered the last word in complexity. The director had, ¢utrusted the composition of a ballet called "la Source" to a fashionable Polish composer by the name of Minkus. Nobody, not even the coinposer, seemed very happy with. the resulf, and Delibes was asked to lend a hand, which he-did to such: effect that the music written as a kind of stop-gap was voted by everybody the outstanding feature. of the score, * * s : TDELIBES'S name as a -composer of ballet music was made, and after 2 couple of divertissements he was commissioned four years later, in 1870. to write the ballet ‘Coppelia," by which he is best known to-day. The first movement of the present suite, which the Concert Orchestra under Mr. Leon de Mauny has: selected to play on the 80th, "Scarf Dance," be-

A One-Act Thriller i 79 Congo , 33 (Hughes) Played by the B.B.C. Dramatic Players Will be broadeast from 3YA / On MONDAY, JAN. 2. *

gins with a brief trumpet prelude which merges into a brisk two in the bar, In the middle there is a smooth melody played first bythe strings and Clarinet, then by flute and oboe. Following this is the beautiful "Love Scene," and the danced march called "Cireassion Dance." It is significant of Delibes’s reputation as a writer of ballet music when composers such as Gounod and Massenet were commissioned to write for the opera-an honour, by the way, never extended to Delibes himself-they consulted him when in difficulties regarding technical points of the ballet music of the operas.: * * * OYA listeners were brought right up to date in current world affairs when Dr. Guy H. Scholefield scrutinised the events leading up to the dispute between the Persian Government and the Anglo-Persian Oil Company, which has the support of the British Government. Giving his talk the title "Persia’s Oil and Soul," Dr.’ Scholefield mentioned that it was rumoured that the dispute has been inflamed and was possibly due to Russian agents. The shadow of Russia has always loomed largely over Persia, although until recently no attempt has béen made to Sovietise Persia. When th country was without stable Government a move on the part of Russia would have necessitated Britain taking possession of Persia, for the preservation of British interests in the country, and to keep the territory as a buffer State between Russia and India. At the beginning of the century Mr. W. K. Darcy, a New Zealander, acquired oil-prospecting concessions from the Shah and powerful local sheiks, and although much capital was

vainly spent in unsuccessful prospect: ing in early days, within the prescribed time a prosperous oil-producing corporation was established. The AngloPersian Oil Company’s successful yenture was largely due to the monetary assistance from the British Government, which now. holds a substantial interest in the company, although involved finance might suggest that its holdings are not so large as claimed. Since the war Persia has’ had many changes of Government, but with a eapable American financial adviser and an ever-increasing revenue from royalties derived from the company’s enterprise, Persia may claim to have established a stable Government. Dr. Scholefield explained how the company’s ramifications had completely changed the mode of living in Southern Persia. Country which a few years ago had only nomads and robbers to-day supports a population, well-housed, with educational facilities, free medical advice and an improved standard of living, all due directly to the valuable oil industry, which has definitely im-

proved the life of every person in Persia * Ld % HAT Persia has materially advanced is evident when a people, long subjugated by the blight of the Turk, can muster sufficient courage to accuse theif greatest benefactor of exploitation. Naturally the Persian is not the only national that has benefited by the Anglo-Persian Oil Company’s — enterprise. Numerous unskilled labourers in the employ are as discoloured as the remnants of Cyrus’s Empire, but whole hordes of Persians are unemployable and not worth bothering about. It-may be suggested that a willingness to refer the dispute to the Permanent Court of Justice is a sign of weakness on Britain’s part, due possibly to an attenuated exchequer that resulted from win-ning-a war. The Persians seem to be in a hopeful frame of mind when they agree, while the H.M.S. Hawkins is sitting on their front-door step, to submit the pros and cons to a League of Nations which is competent to diffuse poetry but apparently futile in arresting aggression,

For "Mirth and Melody" By Jack and Jill Tune in to 1YA on MONDAY, JANUARY 2, a eM