Too Much Music Being Broadcast...

Radio Record, Volume X, Issue 9, 11 September 1936, Page 5

Too Much Music Being

Broadcast...

Says Dr.

Malcolm

Sargent

sult that people do not learn to listen. It is an extremely difficult thing to give really constructive advice about radio programmes, For one thing, you never know when the average listener is going ta tune in. In giving a concert in a hall you know that it will start at a set hour, but, in broadcasting, the listener may tune in anywhere. In my opinion this difficulty can be overcome T OO much music can be and is broadcast, with the re-

to.a certain extent by having three simultaneous programmes for listeners to choose from-one of. really serious music, one of lighter stuff, and a third frankly dance music. But too much music gives people what ‘I call "unclean ears." _ It has been most gratifying to find in thig country a spirit of helpful co-operation between the broadcasting authorities and the musical organisations. . It is all to the good that the broadcasting people, while they have t'.eir own nucleus orches: ° tra.and choir, should make. use -ef existing musical organisations, Provided they are good. But you must avoid. the snag of ~ having "‘tied"’ players. All .. special | players should be available’ .o perform wherever and whenever their services "are required. ‘It has been suggested that the Wellington Town Hall has been filled recently merelv to watch a strange

I conductor, and that, with the normal order restored, the interest in orchestral z:oncerts would,again wane. . But the novelty. of watching a new conductor at work soon wears off. If the mesic those people. heard did: not convey. something to them, then, it was useless." But it-must have made an aural impression upon them. ‘Many must have been moved by the playing of the orchestra; their eyes will have been opened to the possibilities of what orchestral music

can offer them, and.to what the existing musical organisations can provide, and they will come again to future concerts. ‘Where is the money to come from for fostering music in New Zealand? The city or State itself should be ‘responsible for any. deficit, and a. deficit is ‘no unusual thing ‘n the balance sheet of a musical organisation. All art should be a cultural and not a business proposition. In the olden days it was. the rich aristocracy who = subsidised music; music was, in fact, for them alone. Then came the era of subscriptions ‘from the socalled upper classer, but now music is quite rightly for all classes. -The very smallest. additional _ rate .would. provide. all. the finance necessary. ° ' | have been asked it 1 thought that the bringing

gether, | am all for getting the best instruments possible, regardless of the country of origin. Some of your players are performing under a handicap owing to their instruments. J, like other conductors, want the best possible sounds from my orchestra: whether the’ instruments come from Greenland or Persia does not matter. Expert tuition for New Zealand musicians might be provided sy means of scholarships tenable for two years at such an institution .as the Royal College of Music. There they could be taught, and taught o teach, on the’ understanding that they return to this country for a certain period. By this "means | consider the standard of orchestral playing would be materially raised. Perhaps the Department cf Education could help?

out to the Dominion of a trained conductor would be a. wise move. Well, to persuade a first-class man to ‘take up permanent residence in your country would mean paying a big salary. Such a step would certainly advance the standard of playing, but | have doubts whether.the time is really ripe for doing this, and suggest that visiting . conductors might, for the moment, help considerably. 1 have been much touched by the friendliness of the conductors

here and their genuine cesize receive whatever help | have been able to give them, ‘And now, for a little criticism. There seems to be an extrao:dinary and lamentable shortage of orchestral music in the country. For instance, | wanted the orchestra at one of my concerts to play a certain Elgar composition, but the parts were not obtainable. — it is the same with many of what I call the ordinary classical pieces-there are not sufficient parts for the strings of an orchestra of any size. It is a case not of playing what’ you want to, but what vou «an get parts for. To remedy this, the broadcasting authorities and the Government could lend a hand in helping ‘to build up a musical library which would be available to any recognised musical organisation ‘that is not out to make a profit. The cost of such a library would not, be great, and,

naturally, those, making use of its contents would be ex: ‘pected to contribute something towrrd it. . The tibyary possessed' by the Royal Choral Union is, | might add,, quite a good one. ‘ The Government, too, I might suggest, should be careful not to impose a big duty on imported musical instruments. Good instruments are essential if an-orchestra is to be good. Apart from politics and trade questions alte-

Introducing

unc DR. MALCOLM SARGENT. famous British conductor, who has just concluded a visit to New Zealand. Dr. Sargent gave four concerts in the Dominion-all in Wel-lington-three ‘public and.one from the broadcasting ‘studios of 2YA. In the article on this page Dr. Sargent discusses music in general i this country-and makes somite useful and interesting observations. TOTES EEE LEER ESE CoS PEEERELER EEE ELE

(iHIHIIIEIIIVIIIHIIIIIEJIIHII IVIIIIESHLIIIIIIIIIICJIIIE IMCJIIE IIIEZIIIIXIIIICJIILIIII IhIczIIL VIXIIEJI Lily Krng; woman journalist from' Germany noW touring New Zealand; bas_ written next wcek' s signed articlc ;