OVER THE AIR

Press, Volume LXX, Issue 21240, 11 August 1934, Page 9

OVER THE AIR

[By AItXEL.]

Two letters need replies. First, "Orpheus" in the correspondence columns. "Orpheus" corrects me on several matters and says that Fred Eiizalde is not the mere jazz fiend as suggested by me, but is indeed the greatest interpreter of the composer Manuel de Falla; that the jazz musicians—even if they did say that melodies and tunes were relics of a barbarous age—said this some time after Stravinsky had inferred likewise, and therefore could not be blamed. "Orpheus" also says that it takes a lot of imagination to call "The Last Round-Up" music and states that "hot" jazz so far from being dead is increasing its followers. Let me begin by saying that I agree with "Orpheus" almost entirely. It is more difficult than it should be to have jazz ticketed and disposed of in a few hundred words. And (optimistically) I did not think that my disposing of Fred Eiizalde in what I considered—and consider —to be his place would arouse any comment. But I wonder. Because Fred Eiizalde is the greatest interpreter of his teacher, de Falla, does that fact entitle Eiizalde to be regarded as a serious composer? I don't like quoting people to support my arguments, but only yesterday I happened to read "Music Ho," by Constant Lambert, whose Rio Grande was heard in Christchurch recently. Let me quote Lambert on the subject of de Falla. "The Spaniards . . . can show nothing but a series of glorified and tasteful picture postcards of the come-to-sunny-Spain order The whole of Spanish music so far is summed up in a few of Albeniz's piano pieces: notably 'Evocation,' 'Malaga,' 'EI Polo,' and 'Triana.' These, •' within their narrow range, have a unique charm and an unexpectedly profound emotional appeal; but they are exceptional examples of an unvarying formula which soon becomes wearisome in the extreme. Manuel de Falla, after continuing in the Albeniz tradition in a somewhat desiccated manner, has only found an escape from this obvious cul-de-sac by grafting on to his national style a chilly neo-classicism.

. . . Within the inevitable and not far distant conquest of the jazz band, and the already established conquest of an ami-religious government, this glamour will suffer a severe set-back even if it docs not disappear altogether." This statement of Lambert's definitely seems to infer (and I agree with him) that de Falla is not to be ! taken with any musical seriousness. In fact, he goes on to say that the self-conscious concentration on purely local characteristics, which is the hallmark of all Spanish composers without exception, the eternal stamping of heels and clacking of castinets, is as irritating and embarrassing as the self-conscious racial exhibitionism of those who unconvincingly and suddenly break into cries of "Vo-dodeo-vo" and "Whoo-pee-e-" in a vain effort to persuade others and themselves that they are instinct with the overbrimming vitality of the Ne\v World. So I put it to "Orpheus" that Fred Elizalde has transferred the Spanish idiom to the New World and this his "new rhythm" is merely the unsuccessful grafting of his maestro's teachings on to the fundamental folk-music of the negro. As regards the statement that "hot music" is increasing its followers, I agree once again with "Orpheus." But nevertheless I think that hot music is as dead as a door-nail. In a like manner (to take an example) about 12 months ago there burst upon an astonished world a fashion for wearing strange ornaments in the hair, known (I think) as "Alice in Wonderland" bandeaux. This fashion increased its followers, in fact it increased its followers at such a rate that the ornaments were to be found in every five-and-ten-cent store. And what was the result? These bandeaux are dead: the fashion became over-popularised. In six months time no intelligent young woman will wear them. And I suggest to "Orpheus" that "Hot Jazz" will go the way of all ephemeral fashions. And finally, I simply cannot agree that jazz is becoming more and more of a specialised art. Jazz is not an art; it is a movement. In its best form it is a highly sophisticated adaptation of the "ragtime" of the American negro, adapted by sophisticated cosmopolitan Jews. In its more puerile phases it has received the adulation of the "palais-de-danse" going public, and it has also a "highbrow" phase centring in the works of Duke Ellington. But jazz I is not an art. I should like very much to hear "Orpheus" give a 40 minute recital of jazz music from 3YA. An intelligent exposition of the matter (and "Orpheus" is the man to give it) would clear up a great deal of false perceptions and foolish prejudices.

Microphone Technique A long letter from "S.J." raises some interesting points. He divides singers into "vocal sirfgers" and "radio crooners." The vocal singer suffers with a loss of personality when appearing in front of the microphone whereas the radio crooner suffers the same loss when appearing on the concert platform. And from this standpoint "S.J." mentions a number of well-known Christchurch radio performers and categorises them into their positions among the devils or the angels. The point is raised that there seems to be no intelligent co-opera-tion between the control engineers and the artists. As soon as the music rises to a certain intensity it is squashed and when it falls below what the engineer on the control panel considers to be the correct level it is intensified. And when this is the case, says "S.J." no wonder what should show fire and life sounds dead, and singers who are able to I keep between these restrictions are apparently improved. Personally, I am afraid that "S.J." j is correct. The utmost co-operation j between singer and control panel is necessary. I think to a great extent the fault lies with the singer. Lord, how some of them do roar into the microphone! Even the poor engineer can do nothing when sounds are

PROGRAMMES AND COMMENT

made reminiscent of feeding time at the zoo. But this blasting may easily be overcome at the cost of a few pounds. I suggest that an electrician at 3YA get to work and elaborate a piece of apparatus which will show on paper the course of a song as sung by a "blaster." A revolving drum and a sensitive stylus will do the trick. The singer will rehearse the songs, the record will be shown to him (or to her), and the limits of the microphone explained. As a matter of fact, some apparently hopeless radio artists might be improved very greatly if they were given a course in microphone technique. I ask "S.J." to hammer this point into the broadcasting authorities. New Use for Microphone A gentleman in the United States has a horror of being buried alive. It is usual in cases of this kind for the person concerned to leave instructions in his will that a surgeon shall sever some artery in order to make quite sure of death. But this is an old-fashioned notion, and our citizen of the United States is nothing if not up-to-date. He has made arrangements with the undertaker and the cemetery keeper, and when he "dies" he is to be buried with a microphone in his coffin and a line leading thence to the sitting-room of the cemetery keeper. Every day for 18 months the cemetery keeper will press a button which will sound a gong in the coffin, and he will then listen carefully for any sounds issuing from six feet below the earth. I feel myself that in the event of the American not being dead but merely in a trance, this arrangement should suffice, but there are yet snags to be overcome. Supposing the cemetery keeper should be having "a quick one" at the very time signals were coming from below? Supposing the not-quite-dead man's relations preferred him to be dead and buried instead of alive and kicking? However, it's an idea!

Suggestion for the Week The question of controversy must, I am sure, worry a number of radio listeners. For instance. Karl Marx, although he has been dead a number of years, is more or less taboo. And yet there seems to be no objection to the reporting over the air of a live pigeon "shoot." I am quite sure that in New Zealand a great number of people dislike live pigeon shooting from traps with cash prizes as a reward for sportsmanship. Therefore, live pigeon shooting becomes a matter for controversy. And therefore the Broadcasting Board should be consistent. I suggest that a definite decision be arrived at as regards controversy. If on the one hand Krishnamurti is to be banned because he wishes to talk on higher matters, so should announcers be banned when they talk on lower matters.

BROADCASTING TODAY'S PROGRAMMES 3YA, CIIRISTCHURCiI (720 Kilocycles) 7.0 to 8.30 a.m.: Breakfast session 10.0: Devotional service. 10.15: Selected recordings. 11.30: Relay from Addington of the Metropolitan Trotting Club's meeting. 12 noon: Lunch music. 2 p.m.: Selected recordings. 3.30: Sports results. 4.40: Rebroadcast description of the first Rugbv Test match, All Blacks v. Australia. 6.0:, Dinner music. 7.0: News and reports. 8.0: Chimes. Relay from the King Edward Barracks of official opening ceremony of Winter Show. 9.0: Relay from St. James' Theatre of the title bout—professional bantam-weight boxing. Costa (Australia) v. George Wright (Nrw Zealand). 10.0 (approx): I Sports summary. 10.15: (approx): ' Dance music. Alternative concert programme. 3YL, 1200 kilocycles. 5 p.m.: Light musical programme. 7.0: j After-dinner music. 8.0: Alternative j concert programme.

2YA, WELLINGTON (570 Kilocycles) 7.0 to 8.30 a.m.: Breakfast session. 10.0: Chimes. Selected recordings. 10.30: Devotional service. 11.15: Talk, prepared by the Home Science Extension Service of Otago University. # 12 noon: Lunch music. 2 p.m.: Light musical programme. 2.45: Relay from Athletic Park of Rugby football match. Announcer: Mr Chas. Lamberg. 4.40: (approx.): Commentary from Sydney on the international fixture. All Blacks versus Australia, first test. 6.0: Dinner music. 7.0: News and reports. 7.40: W.E.A. session: Mr Quentii* Pope, "The Old English Drama and the New: (2) The Triumph of Realism.' 8.0: Chime 2YA Concert Orchestra, (conductor, Mr Leon de Mauny), March "Sounds of Peace" (von Blon); Rhythmic Paraphrase, "Rhapsodie Russe" (Nussbaum). 8.12: Recordings, John Hendrik, tenor with orchestra, "Play to me Gipsy" (Vacek); "Neapolitan Love Song" (Herbert). 8.18: Recordings, Kanui and Lula, Hawaiian I instrumental and vocal, "Tomi, Tomi"; "Oua, Oua." 8.25: Relay from De Luxe Theatre, Mr Paul T. Cullen at the Wurlitzer organ. 8.40: Mr Alec Regan and partner, novelty piano and vocal, "Humorosities and Musicalities at the Piano" (arr. Regan). 8.45: 2YA Concert Orchestra, Rhythmic Paraphrase, "Haunting Humoreske" (arr. Black). 9.0: Weather report and station notices. 9.2: One hour of old time dance music by 2YA Concert Orchestra. Conductor. Mr Leon de Mauny. M.C., Mr Wm. Toomath. Valse, "Over the Waves" (Rosas). Schottische. "Gordon Highlanders" (Burns). Valse, "Caressante" (Lambert). Lancers. "Golden Opera" (arr. Winter). Polka, "King Carnival" (Myddleton). Valse, "Les Patineurs" (Waldteufel). Two-step, "Palantinus" (Hall). 10.0: Sporting summary. 10.10: One hour of modern dance music. Alternative programme. 2YC, 840 kilocycles. 2.45 to 4.45 (approx.): Selected recordings. 5.0: Light musical programme. 7.0: After-dinner music. 8.0: Alternative concert programme.

DAVENTRY, ENGLAND (Greenwich Mean Time) Two of the following frequencies and wave-lengths will be used simultaneously, but the wave-lengths may be changed in the course of each day's transmissions. Announcements will made at frequent intervals: GSF, 19.82 i metres; GSE, 25.28 metres, or GSD, j 25.53 metres; GSC, 31.30 metres, or GSB, 31.55 meters; GSA, 49.59 meters; GSH, 13.97 metres; GSG, 16.86 metres; GSF. 19.82 metres. 5.15 a.m.: Time signal from Big Tom. Palace Theatre Memories, a programme of gramophone records. 5.45: A talk by Heath Robinson, the cartoonist 6.0: British Tango Bands, a programme. of gramophone records. 6.15: Time signal from Greenwich. Songs and syncopation. 7.0 to 7.20: News bulletin and topical talk. 11.0: Time signal from Big Tom. The Northern Studio Orchestra, directed by John Bridge, from a Manchester studio. 12 noon: Time signal from Greenwich. The Commodore Grand Orchestra, directed by Joseph Muscant, relayed

from the Commodore Theatre, Hammersmith, London. 1.0 to 1-30 p.m.: A programme of special dance gramophone records. 6.0: Time signal from Big Tom. News bulletin and topical talk. 6.20: Reginald King's Orchestra. 7.0: Time signal from Greenwich. Impressions of the Elan Valley. 7.15: A brass band concert. 7.30: Songs and syncopation. (Time signal from Greenwich at 8 p.m.). 8.15: Variety programme. 9.15: The Australians at Nottingham. 9.30: Dance music. 10.0: "A Newspaper goes to Press, a talk by G. Bishop. 10.15 to 10.35: News bulletin and topical talk. SUNDAY 3YA, CHRISTCHXJRCH 9 p.m.: Selected recordings. 11.0: Relay of morning service from St. Ninian's Presbyterian Church.. Preacher Rev. John A. Allan, M.A. Organist and choirmaster: Mr E. Law. 1 p.m.: Dinner music. 2.0: Selected recordings. 2.45: Talk. 3.0: Selected recordings. 5.30: Children's song service, conducted by the children of the Salvation Army. 6.30: Selected recordings. 7.0: Relay of evening service from the Salvation Army Citadel. Speaker: Adjutant Tong. 8.30: Recording. Berlin State Opera House Orchestra, "Carneval Romaine" Over- . ture (Berlioz). 8.38: Mr Ernest Short (baritone), "Who May Abide fHandel): "The Death of Minehaha" (from "Hiawatha") (ColeridgeTaylor). 8.45: Recording: Philharmonic Symphony Orchestra of New York, Symphony No. 35 in D Major: Allegro con spirito; Andante; Menuetto; Finale—Presto (Mozart). ,9.5: Weather forecast and station notices. 9.8: Recording: Alfred Cortot (piano), and the London Symphony Orchestra, Concerto in A Minor Op. 54; Allegroi affettuoso; Andante espressivo; Allegro; Intermezzo Andantino grazioso; Allegro vivace (Schumann). 9.40: Mr Krnest Short (baritone), "True Is All lago Tells Us" (Hiawatha) (ColeridgeTaylor). 9.46: Recording: Orchestra of the Brussels Royal Conservatoire. Suite No. 3 in D Major: Overture; Aria; Gavotte; Bouree and Gigue (Bach). Alternative programme. 3YL, 1200 kilocycles. 6 p.m.: Musical programme. 8.30: Alternative concert programme. 2YA, WELLINGTON 9 a.m.: Chimes. Selected recordings. 11.0: Relay of service from St. Peter's Anglican Church, Willis street. Preacher: Rev. W. Bullock. Organist and choirmaster: Iwr S. B. Shortt. 1 p.m.: Dinner music. 2.0: Selected recordings. 6.0: Children s song service, conducted by Uncle William and the children's choir from St. Anne's Anglican Church 7.0: Relay of evening service from the Vivian street Baptist Church. Preacher: Rev. L. J. Boulton Smith. Organist and choirmaster: Mr Chas. Collins. 8.15 (approx.): Selected recordings. 8.30: Presentation of recorded version of complete opera in four acts —"La Boheme" (Puccini). The cast: Mimi (a milliner's assistant): Mme. Rosina Torri (soprano). Musetta (a midinette I and a flirt): Mile. Vituilli (soprano). •Rudolfo (a poet): M. Giorgini (tenor). Marcel (a painter): M. Badini (baritone). Colline a philosopher): M. Manfrini (bass). Schaunard (a musician): M. Baracchi (baritone). Parpignol (a toyseller): M. Nessi 'tenor). Alcindoro (a wealthy admirer of Musetta): M. Baccaloni (bass), Benoit (landlord of the Four Bohemians): M. Baccaloni (bass). Members of the orchestra and chorus of La Scala, Milan. Alternative programme. 2YC, 840 kilocycles. 6.0 to 8.30 p.m.: Selected recordings. 8.30: Alternative concert programme. DAVENTRY, ENGLAND (Greenwich Mean Time) 5.15 a.m.: Time signal from Big Ben. "London from Unusual Angles, a talk. 5.30: A programme of popularsongs: Phyllis Evens (soprano); Stella Murray (contralto); and Alan Wilson (tenor. 6.15: Time signal from Greenwich. A religious service from Fertn. 7.0 to 7.15: A summary of the week s news. 11.30: Time signal froxn Big Ben The Western Studio Orchestra (leader, Frank Thomas); from a Cardiff studio. (Time signal from Greenwich at 12 A violin recital .Louis Godowsky. 10 to 1.30: Reginald King's Orchestra. 6.0: Time signal from Big Ben. An orchestral concert. 6.45: A pianoforte recital by Adela Verne. 6.55: A religious service: address by Rev. C H. Ritchie, relayed from St. Martin-1 in-the-Fields, Trafalgar square London. (Time signal from Greenwich at 70 ) 7.45: A summary of the weeks news 8.0: Time signal from Greenwich. An interlude. 8.5: A light symphony orchestral concert. 8.45 (approx): Eastbourne Municipal Orchestra. 9.30 : to 9.40: Epilogue.