Here and There

Radio Record, Volume VI, Issue 37, 24 March 1933, Page 5

Here and There

Selections from this Week's Programmes

By

TRIPLE GRID

An Old Fairy Tale, Included in the dinner session at 8YA on April 17 is the fantasy "The Three Bears," a musical presentation of the well-known story about the little girl who only just escaped the clutches of these three creatures. This is a most descriptive composition of Bric Coates, and it needs little imagination to interpret the "motif" heard at the start: "Who's: been sitting in my chair?’ Goldilocks gets up (at five o’clock, as we hear) and runs off to the bears’ house. Finding it empty, she peeps about, amuses herself awhile, then ‘falls asleep. The bears arrive (each suggested by an appropriate instrument) and chase her away. Goldilocks runs home to granny and tells her of the exciting adventure, and so realistic is the musical story that even the wee tots cannot fail to understand.

> a The Boat Race. Every short-wave enthusiast will be tuned to the Empire Station on the evening of April 1, to hear the description of the annual aquatic contest between Oxford and Cambridge Universities. The amazing popularity of this race, even among people who have never had any association with a university, is a strange thing. In comparison, cricket tests, football finals and Derbies pale into insignificance. There will hardly be a child of either sex in all England who will not favour one crew or the other on this day, and many hundreds of thousands will sport either a dark blue or a light blue ribbon. The first race was rowed in 1829, and this year’s race will be the eighty-fifth. Oxford has won forty times and Cambridge forty-three, a deadheat being rowed in 1877. The record time for the race, over.four and a quarter miles, is 18 minutes 29 seconds, established when Oxford won the contest in 1911. Jor the last nine years Cambridge has been victorious. The commentary will be carried out on the B.B.C.’s launch "Magician," which follows the crews at a distance of about twenty yards, and carries a portable transmitter and narrator. A receiving-point situated on Harrod’s Depository, at Hammersmith, relays the transmission by land-line to Broadcasting House, whence it is relayed to the various stations, including the Empire Station. On previous occasions New Zealand has never been very fortunate in picking up this event very clearly, but better reception is confidently anticipated from the new, transmitter. A Talented New Zealander. Mr. Arthur Lilly, whose name has appeared on several occasions recently *y the programmes as a composer, is a native of nedin. At an early age he showed exceptional Yiromise as a performer, and while still in his *teens went to England, where he studied at the Royal College of Organists, and under the late Sir Frederick Bridge, at that time the organist of Westminster Abbey. After completing his studies in England, where he gained the Associateship Diploma of the College of Organists, he returned to New Zealand to take up an appointment as assistant organist and choirmaster of ‘Christchurch Cathedral. He was also appointed organist and .choirmaster of St. Luke’s Church, where he built up one of the finest church choirs in the Dominion. Mr. Lilly has composed many works, vocal and instrumental, and has arranged and orchestrated a large number of airs. His most ambitious composition was a choral setting of the ode, "Life," which was performed some years ago by the Christchurch Musical Union. For some years Mr. Tilly has been organist and choirmaster of Holy Trinity Church, Avonside, Christchurch. Listeners to 83YA on April 1 will hear Miss Millicent O’Grady sing Arthur Lilly’s "Come My Love."

"Thais." From 4YA on March 27 listeners will hear M. Euckeze in "Viola donc la Terrible Cite," from "Thais,’ the opera based on Anatole France’s brilliant romance of the same name. Produced in Paris in 1894, and in England in 1911, the opera soon found favour with the public. The work tells of a courtesan rescued from her mode of life by a religious ascetic, who.: in rescuing the woman, himself falls. Athanael is a monk of the fourth century who has sought retirement in the fastnesses of the Theban Plains. Honoured as a pious member, ever ready to mortify the flesh, and meticulous in religious exercises, he concludes that a divine summons demands his rescue of Thais. Arriving in Alexandria he meets Nicias, an old and worldly friend, who laughs at the idea of the monk making any impression on the lovely courtesan, and prophesies that

Athanael will fall a victim to her charms. ‘Thuis, however, listens to the mouk and is moved by his intense fervour. She tells him she is a Christian, baptised us a child by a negro slave, and agrees to abandon her worldly life; but she begs to be allowed to enjoy one more night of freedom. Athanael agrees and awaits her in the courtyard at dawn. As the moon is setting Thais steals to his side. She has set fire to her house and assumed a disguise. Many weary miles the two pilgrims trudge, and Thais submits with ~ true humility. arriving at the convent completely exhausted. Time passes. Athanael is once more in his narrow cell, but thoughts of Thais persist. He puts them aside as dreams provoked by the Evil One; but at last he succumbs. Word comes to him that Thais is dying, and he

realises his love is of the flesh and not of the spirit. He flies to the convent, where, purified from eurthly stains, Thais contemplates nothing but heaven. Athanael rushes in, spurred by his feverish passion, and kneeling before her babbles of his love; but Thais hears him not. A great light comes to her: she sees the gates of heaven opening, and, with a glad cry, expires in the monk’s arms. Richard Crooks. Musically, the Germans are 2 conservative nation, and it is but rarely that a singer not of German birth gains their affection. Richard Crooks is perhaps the most noteworthy exception. An American by birth and training, he sang in London some years ago without attracting much attention, but after. some study in Germany he gave a concert in Berlin, with such success that he was invited to appear at the State Opera House there. In view of his great Berlin success, Crooks was invited to give concerts in Holland and Belgium. ‘The enthusiasm was immense, and to-day Richard Crooks is one of the most highly esteemed tenors in the; world. In his native America he confined himself to concerts until 1931, during the autumn-of which he gave his own people an opportunity of endorsing the sentiments of Continental audiences through successful. graud opera appearances in New York and elsewhere. Listeners to 1YA on, March 29 will hear Richard Crooks in that en-: trancing song, "Beautiful Isle of Somewhere." A Talented Performer. From 3YA on Marchj 29, Mr. Ernest Jen~| ner, A.R.A.M., L.R.A.M., one of the most accom~«, plished pianists in the Dominion, will be heard in; a pianoforte recital. Mr. Jenner is a recent! arrival in Christchurch, where he is Lecturer inj Musie at the Teachers’ Training College, a position similar to that he held in Wellington for the past. five years. His work in the Capital City was attended with wonderful success, and his broadcast lessons during the Educational Sessions from 2YA were a delight, both to students and unattached listeners alike. Prior to Mr. Jenner’s departure from England, he had firmly established for himself an enviable renown as a solo and orchestral pianist. On twelve occasions he had appeared at the Queen’s Hall as solo pianist under Sir Henry Wood, Sir Hamilton Harty, Bugene Goosens and the Spanish conductor, M. Arbos, and held the appointment of orchestral pianist to the Royal Philharmonic Orchestra, London. During his so-' journ in Wellington, Mr. Jenner gave many cham~ber concerts, solo performances, -lectures and lecture-recitals, and the musical public always showed their appreciation of a finished and talented performer by attending in large numbers. In connection with his work at the college, Mr. Jenner has published two books, his latest, "Songs and Lesson Material for the School Music Course" being issued last month. Musical circles in Christ_church early recognised they were fortunate in poss ession of their new citizen, and listeners trust that (Continued overleaf.)

High Lights in the Programmes PAUL VINOGRADOFF-2YA, Monday. WORLD TOUR, PART 3-1YA, Tuesday. "THE SNOWBALL," or "THE ADVENTURES OF FELIX’’-2YA, Tuesday. THE BOHEMIAN TRIO-3YA, Tuesday. "SYMPHONY" -4YA, Wednesday. OLD-TIME MUSIC-1IYA, Saturday. The Talks "FAMOUS TRIALS’-1YA, Tuesday. "THE CHARM OF HONOLULU"’-1YA, Wednesday. " "PUNCH, AN IMPERIAL INSTITU-TION’-2YA, Thursday. "HISTORICAL BACKGROUND OF MODERN JAPAN’-3YA, Thursday.

from 3YA. Faust Overture. Included in the Dunedin Symphony Orchestra’s programme, which will be broadcast on relay by 4YA. on Wednesday, March 22, is Richard Wagner’s "Faust" Overture. According to the most reliable accounts, this overture was written in 1840. Originally Wagner had sketched it as part of a symphony founded on Goethe’s drama. In 1844 this overture was twice performed in Dresden. After a number of changes recommended by Franz Liszt, Wagner re-wrote the overture in 1855, and it was finally published in the new form and under above title. The overture opens with an Introduction (molto sostenuto) containing most of the thematic germs of the Overture proper (Allegro molto). The gloomy theme (1) given out by the Tuba and Contrabasses is a modified version of the principal subject of the Allegro. It strikes at once the note of ‘"Life-deserting Misery." This is presently succeeded by a melody for the wood-wind (2) in which, for.a while, despair seems to grow mild and plaintive, only to return to the sombre mood of the Introduction. With the Overture itself the time changes to Molto allegro, and the original theme (1) now appears in full, given to the first violins with an accompaniment for horns and bassoon. This is worked up to a climax, after which a connecting passage brings us to the second subject (3) heard on the flute. Referring to this soothing and tender melody. Wagner, in a letter to Liszt. says that it was suggested by these lines from Goethe's "Faust": A sweet, uncomprehended yearning Drove forth my feet through woods and meadows free; And arhile a thousand tears acere burning, £ felt a world arise for me. During the development which follows, this tranquil influence is never entirely lost sight of, amid the frenzy of despair and the rebellious questioning of fate which the music seems to imply. Toward the close it undoubtedly prevails, and the overture ends in a mood, not indeed of hope, but of resigned weariness, recalling these lines of Shelley’s : Yet even now despair itself is mild. Even as the winds and acaters are: Z could lie down like a tired child, And weep away the life of care Which I have borne and yet must bear.