PERSONALITIES of the WEEK

Radio Record, 4 September 1936, Page 10

PERSONALITIES of the WEEK

Robust Tenor RICHARD CROOKS concerns himself with rough action no less than with polite art, though in hardly the same professional way. He goes in for exercise that wants a heavy hand, as well as that which requires a light voice. If you follow him about where his leisure permits him to go and where his work calls him, you will see him at the sea shore digging clams, to-day, and you will hear him in a concert pavilion interpreting operatic arias, to-morrow. To speak . of him_in the old-fashioned phrase, Richard Crooks is a robust tenor. Had he adopted fish and fish-getting as his line of business he might have been famous for fish; whereas actually send ~ him to the beach at low tide with a spade and basket, and he will return with only an amateur’s carry and stained fingers. The voice of Richard Crooks will be heard from 3YA on Monday, September 7. A "Musical" Chair N Australian visitor to the home of Franz Lehar, in Vienna, was the innocént victim of a standing practical joke at the Lehar establishment. The genial composer pushed the Australian into a chair that stands in a corner of the study. The sitter was most startled and surprised when he sank into the seat to hear the strains of "The Merry Widow" waltz suddenly come from the springs of the chair. It would be perhaps more correct to call this Lehar’s "sitting" joke. Lehar’s success is founded on his melodious material, ideas and orchestration. He was the first to introduce special dancing parts for the actors after each song or duet, and throughout his music the influence of the South-Slay folksong is felt. His works for stage now exceed two score in number. Selections from quite a number of these are heard on the air from time to time. "Sea Fever" LZ0NARD GOWINGS is not only one of Bngland’s foremost tenors, but a flautist into the bargain. His uncles and brothers were all seafaring men and on their return home on shore leave they would fill the house with a restless atmosphere and tell stories of strange adventures in out-of-the-way

ports and lands. When Leonard was 23 he was doing well in his father’s business, and hig singing was attracting attention. He suddenly astonished everyone by going to sea on one of the Union Castle liners bound for the Cape. The sea had called him ang.) having no better qualification, hes shipped as a bandsman and played the* flute in the ship’s orchestra. Although he loved his new life, he soon abandoned it, and on returning to London began hig steady upward climb to fame. Leonard Gowings has made very few records and consequently his voice is not as well known to listeners as it should be. The records he has made have found their way to the station libraries and are broadcast. Athletic Enid RX CRUICKSHANK, the Scottish opera contralto (born in Aberdeen), unlike many operatic artistes, is extremely athletic. Vigorous ‘sports occupy much of her spare time, among them flying and swimming. When Enid was working as switchboard operator in a Glasgow office, her mind was much preoccupied with amateur theatricals, and in the shows in which she took part she was considered as something of an embryo star. Eventually she went to Plymouth, where after a few lessons she won several gold and silver medals in the Devonshire port’s first musical competitions festival, Charles Mannery was impressed with her success ant entry into his opera company started her on the upgrade. Her voice will be heard by 4YA listeners on Sunday atfternoon, September 6. Started With a Bang N unusual distinction clings tu the comedian, Leonard Henry. He must be the only comedian who went on to the stage as the result of an €xplosion. This explosion happened iu the laboratory of a big firm of manu: facturing chemists with whom he was working at the time. When they sorted him out of the ruins he was sent to the seaside to recuperate, and met a friend who was in a beach concertparty. Leonard. Henry started "entertaining at the piano" as a joke and it proved such a good one that he never got back to the laboratory. He went from concert party to stage, and from

stage to radio, where he first broadcast ten years ago this month. 1YA listeners will hear Leonard Henry in the music, mirth and melody session ou Iriday, September 11, 1066 And All That." A DECIDED novelty is provided in a recorded vocal selection from "1066 and All That" by the 1066 Quartet and the Strand Theatre Orchestra. Based upon the "Memorable History" which was compiled by W. C. Sellar and R. 8. Yeatman, and introduced to a hitherto unenlightened world as a serial feature in "Punch," the musical play has enjoyed a big success at Home The musical settings of Alfred Reynolds to Reginald Arkell’s stage version is a sheer delight. The quartet, in German Style, of the Four Georges, and such conceits as "King Canute" and

"The Puritan and the Cavalier’ are unctorgettable bits of roisterous, but very clever fooling. All who have rezil the Seilar-Yeatman book will appreciate hearing this selection from both 1¥A and 2YA on Saturday, September 12, One-Handed Pianists. At least two one handed pianists have delighted music lovers of the old world. The first was Count Geza Zichy. who at the age of fifteen had the misfortune to lose his right arm on a shooting expedition. This nobleman played in public for charitable purposes and he achieved his ambition in accomplishinge with the left hand that which great pianists achieved with two. Several years under Liszt enabled him to play in a way that listeners could hardly believe their ears and eyes. The sec-

ond man’ to overcome @ similar unfor tunate handicap is Paul Wittgensteti the Viennese pianist, who lost his risii' arm in the great war. Prior to this lic had studied under Leschetitsky and he gave his first public concert during the winter of 1918-1914. During his con valescence he devoted his time to the study of left-hand playing and achieved much success. Although a normal tw» handed pianist, the brilliant Russini Simon Barer, has specialised left-hande:’ study playing. He will be heard in two Liszt pieces from 1¥A on Friday, Se}: tember 11.