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Radio Record, Volume VII, Issue 5, 11 August 1933, Page 10

"THIS year we, celebrate the ceutenary of one of the most popular tenor songs ever penned, "My Pretty

Jane." Its origin is most interesting, but perhaps the most remarkable thing about the song is its atmosphere of pure freshness that makes it as popular in 19338 as it was in the days when ‘William the Fourth sat on the throne.

Encored Nightly. RITING in 1859, Edward Fitzbail, author of the words of Bishop’s "My Pretty Jane," says, "IT had the good luck to make some veritable hits in my songs. ‘My Pretty Jane,’ inimitably sung by Robinson, made quite a furore, and was encored = every night of the season (1838 34). Sims Reeves has taken up the air lately, and charmingly he renders it; but it ought to he sung in the open air, under the moonlit summer trees, as in Vauxhall. It almost always happens, that which is least thought of by the maker is the point which tells best with the public. Bishop thought nothing of the melody of ‘My Pretty Jane’; I do not believe

that he would have consented to its being sung, but in a moment of necessity, when no other song could be supplied for Robinson, it was brought to light.’ Listeners to 2YA will hear this delightful song by Anna Case (soprano) on Thursday. August 17, at 8.87 p.m. Egyptian Ballet. . HE placing of ILuigini’s "Ballet . .Sgyptien"’ on 38YA’s programme on Iriday, August 18. recalls its rather interesting ‘history. At 9.17 p.m. on that evening the work will be played by the National Military Band-a reeording. The French composer, Alex. andre Luigini (born at Lyons, Mareh 9, 1850, died in Paris, July 29. 1906) enjoyed a successful career as a light opera and ballet composer and conductor. It was in 1886 that he brought out his famous "Ballet Hgyptien," and it was inserted, with Verdi’s permission, in the second act of "Aida." when that opera was performed at Lyons. It has four movements-a set of very

clever, novel and delightful pieces, moderately exotic in colouring. of ir--resistible appeal in dance rhythm, and deservedly popular. Four Movements. (THE first movement, a pretty Allegro of appealing melodiousness and a curious rhythm of insistent beat. at once establishes the atmosphere of the whole work by its skifully handled suggestion. of the Egyptian flute and small drum, The second is a dainty and delicate Allegretto, with a charming new melody and much pretty and effective ornamentation: it provides excellent contrast to. the first dance. Then comes a beautiful Andante in which a fine melody is announced in double notes to a simple and appropri-. ate accompaniment in full rich chords. There is a short middle section in brisk, tripping measures of charming daintiness and sparkle, then a return of the first melody, with new and varied harmonic treatment. The final piece, Andantino, is very like a barearolle. with its songlike melody supported by wu gently swaying, lulling accompaniment. Toward the end the main theme

of the first movement intrudes on this boat song and brings the music to a_ brilliant close.

A Lincolnshire Tenor. ALFRED PICCAVER, for all his foreign-sounding name, is an Englishman born, being a native of Long Sutton, Lincolnshire, where his family has been known for generations. It is believed that his is the only family of that name in England. He is 45, and for nearly twenty years he was leading tenor in the Vienna State Opera, resigning in 1981.’ He is a lifelong teetotaller and non-smoker, and except ‘for occasional brief visits to London, he has done all his Singing abroad. He is anxious to see the world and may some day visit the Antipodes. Radio listeners will not have ro wait so long, however, because he will be heard from 1YA on Thursday, August 17, at 9.54 in Martin’s song "The Minstrel."

"Double-Voiced’’ Austral. RATHER unique is the aehievement of Florence Austral in singing on one and the same record, two duets from Verdi’s "Il ‘Trovatore’ with Browning Mummery, the tenor. In the first she sings Leonora’s part in the "miserere" scene, an effort calling for some ringing ton notes; in the second shé is Azucena, the gypsy woman, which is a nezzo-soprano part containing some decidedly low nates to display in the duet, "Home to our Mountains." This versatility is a rare thing in the best sopranos and Atistral’s experiment "comes off" brilliantly. From 4YA thesé two favourite duets will be heard on Monday, August 14 at 9.26 p.m. "The Wolf." HE latest successful recording of William Shield’s "The Wolf’ by Norman Allin led me to look into the career of this Durham composer, who inherited his abnormal musical talents from his father. Shield (senior), worked in a number of callings simultaneously in the village of Whickham; teacher of singing, village barber, teather of the violin. At the early age of six young William Shield could play the violin tolerably well. On account of his father’s death, he had to go to work to help swell the family exche- quer, as he was the eldest of four children. Despite the fact that he had to work twelve hours a day as a boat builder’s apprentice, he managed to find time for his daily fiddle practice. A Conductor at 17. IS labours led to his eventually becoming leader of the Newcastle Subscription Concert Orchestra, and at the age of 17 was asked to undertake the sole direction. This step decided for Shield that music, not boat-building, was to be his calling. Success soon came to him, as he was appointed conductor of the fashionable concerts at Séarporough. London was the mext logical and seemingly inevitable step, and from then onwards Shields never looked back. He did the usual things suceessful musicians of bis day did, conducted, composed operas, string music and songs, later became Master of the King’s Musie and found a last resting place in Westminster Abbey. A Man of Honour. YH bequeathed his viola (u reputed Stainer) to his royal master George IV, who refused to accept it as a gift, and sent a cheque to Shield’s widow for the full amount of its value. He is said never to have broken his word or lost a friend, and he was noted for his cleanness of mind both in his domestic and artistie life. His song, "The Wolf," one of the sole surviving of all his numerous works, used to be especially dear to amateurs, and was first heard in his ballad opera, "The Castle of Andalusia" in 1798. Norman Allin sings with equal dignity and dramatie foree, J. W. Cherry’s famous song, "Will o’ the Wisp." is on the reverse side of the record. More ‘‘Shanties,’* ¥7HEN you come to Lhink of it. the accordeon is more in keeping as an nccompaniment: to the full-throated singing of sea chanties than the refined strains of a good piano or the musical perfection of orchestras. That is why Geraldo and his Accordeon Band will meet with a big welcome with their new

record, "Sea Shanties." The choruses are vigorously, and efficiently done, and all the standard favourites.are there, comprising, "What Shall We do with the Drunken Sailor," "Shenandoah," "Blow the Man Down," "Bound for the Rio- Grande," "Whiskey, Johnny," "Fire Down Below," "Iullabaloo Balay" and "Billy Boy." Queen Victoria Records. T is not generally known that Queen Victoria was among those who paid early tribute to the recording art. At the time Lord Denbigh was head of a

company for exploiting the phonograph. He relates how one day the late Sir John Harrington, British Commissioner in Abyssinia, called to see him. Just prior to that Sir Rennell (then Mr.) Rodd had been sent with a mission to the Court of Emperor Menelik, and the Captain had accompanied him. Sir Rennell thoroughly acquainted himself with the Abyssinjan question, and upon his return urged the wisdom of installing a permanent British Commissioner at Addis Ababa, the seat of government, recommending Captain Harrington for the post. A Brain Wave. APTAIN HARRINGTON had an inspiration, and passed it on to the Foreign Office. It was that, if Queen Victoria should send the Emperor 4 message via the phonograph, it would help to foster better relationships. The recording session was arranged. Queen Victoria was instructed as to how to talk into the recording instrument, and the following message was duly chronicled: "I, Vtetoria, Queen of England, hope your Majesty is in good health. I thank you for your cordial reception of my representative, Mr, Rodd, and those who accompanied him, and I earnestly trust that the relations between our two countries may always be friendly"-and so on, A Regal Reception. | (Pais cylinder record was most fittingly received by the Emperor, who ordered'a parade of troops in its honour, and an impressive ceremony was arranged, during which the cylinder was taken from its sealed parcel, placed on a phonograph and played through in the presence of the Emperor. Menelik and his subjects listened with great interest and delight whilst the message was reproduced. An artillery salute was fired, and thus was the early phonograph honoured when it played its part in the cementing of friendly relationships between two important countries.

Such is Popularity. OME of the readers of "The Gramophone" (London) have sent in information to the editor, indicating the excessive duplication of recordings of a specimen dozen popular musical selections. The result is very interesting because one is led to conclude that *these records must be in demand. The list that follows will give listeners an idea of how impossible it is to avoid a certain measure of duplication in the compilation of broadcast programmes. It follows, logically in my opinion, that the tastes of record buyers are more or less shared by wireless listeners, therefore a big section must be well catered for. The First Twelve. PYRE are the twelve pieces and the minimum number of their individual recordings: "Blue Danube" (41) ; Handel’s "Largo" (87), "Ave Marit" (Bach) and "Barcarolle’ (Tales of Hoffmann) . (380 each), "O Sole Mio" (28), "Intermezzo" (Cavalleria Rusticana) and Liszt’s ‘Liebestranme" (27 each), "The Rosary" (Nevin), ‘Love's Old Sweet Song," "You Are My Heart’s Delight" (Lehar) and ‘"Loudonderry Air" (26 each) with "The Lost Chord" last with 25 recordings! So the more modern pieces are definitely out of it. Some idea of the cash value of a "best seller" may be gained from the fact that the last on the above list, "The Lost Chord," yielded £500 a year to Sullivan for 20 years up to his death. It is still going strong.

The RETURNED SOLDIERS’ CHOIR Will be Relayed from the Dunedin Concert Chamber By 4YA On THURSDAY, AUG. 17