THE WEEK’S RADIO Handel's Organ Concerti

Press, Volume CII, Issue 30286, 12 November 1963, Page 9

THE WEEK’S RADIO Handel's Organ Concerti

At 8 p.m. on Thursday 3YC will broadcast the first of a series of programmes of Handel’s organ concerti played on an organ that Handel himself designed and played.

When the American organist, E. Power Biggs set out to record Handel's organ concerti in .1959 it was de-

cided to search for an organ that Handel himself had used. Every instrument he was known to have played seemed to have been either destroyed or radically altered. Then investigations led to the organ Handel had designed in 1749 for his friend. Charles Jennens. the librettist of “Messiah.” When Jennens died tl.e organ passed to his cousin, the Earl of Aylesford, wliose descendants still own it. The organ is now in the private chapel of the Aylesford estate at Great Packington, in the Forest of Arden. Difficulties were not yet over. It was found that the organ was at the pitch of Handel’s day—about a tone lower than today’s pitch—and the pipes all had to be sent to London to be fitted with sliders to raise the pitch so that the orchestra could play with the organ.

When Handel wrote his first organ concerti a keyboard concerto was a novel idea. He used to play them himself during the intervals of oratorio performances and he astonished audiences with his virtuosity. His organ concerti are filled with baroque gaiety and vitality. E. Power Biggs is soloist with the London Philharmonic Orchestra conducted by Sir Adrian Boult. Gobbi's Methods The famous Italian baritone, Tito Gobbi, does not like going to the opera. He has been in the audience only 14 times, he says in “Talking About Music” (YCs, 8 p.m. tomorrow), and never for a full performance. ‘‘l am afraid that if I see other singers perform I will be influenced by them and will not be able to think in my way and perform in my way,” he says. This is only one of the facts to emerge in conversation with the most celebrated Scarpia of the day. Gobbi has sung the part for more than 20 years now, and his recording of it with Callas as Tosca is one of the few of his recordings that he is happy with. Also in the programme is a report on one of Britain's most modern schools, which has embarked on a remarkable experiment in musical education. In an effort to prove music is not for the talented few, the playing of music has been made compulsory. Every one of the 2000 pupils at Kingsdale School is required to be "musically literate” —everyone must read music and play an instrument. Walton's Week

The “composer of the week” from 3YC this week is Sir William Walton. Every night at 7 o’clock Walton’s music will be heard, some of it fairly recent, but the works are mostly those that brought him fame before World War 11. They include the First Symphony (1935) on Tuesday, the two suites from “Facade’’ (1922), and the Violin Concerto (1939) on Wednesday, and the Viola Concerto (1929) on Sunday. More recent works include the 1956 'Cello Concerto on Friday. Britten At 50

On Monday, 3YC will begin a series of special programmes marking the 50th birthday of Benjamin Britten, who is now widely recognised as the greatest living British composer. Monday’s programme was recorded at the London Proms and it presents Britten himself conducting the London Symphony Orchestra and the B B.C. Chorus in his own works. Cantata Misericordium and Sinfomia da Requiem. Britten’s arrangement of Purcell’s Chacony in G is also heard. Details will be given next week of the remainder of the Britten programmes. Modern Classic

The central theme of John Whiting's play, “Marching Song” (3YC, 8 p.m., Friday), is man's obligations to the State and himself. It also tells of the effects of war on a number of representatives of society—General Rupert Forster. defeated in a war he

could have won; Catherine de Troyes, his mistress; the priest; the doctor; the politician and the mob he rules. It reveals the younger generation's view and shows how young and old may face a stricken world with mutual understanding. These are merely the main threads of Whiting’s play, which has become a modem classic since its first production in 1953. In the N.Z.B.C. production Antony Grpser, who also adapted the play for radio, plays Rupert Forster, and Dorothy McKegg takes the part of Catherine. William Austin is the producer. Thalidomide Baby Early on the morning of May 13, 1961, at Windsor, England, a baby girl was born. She had one almost complete leg, slightly twisted at the ankle; the length of one arm but no hand at all; a little stump for the other arm and a little stump for the other leg. At first her mother hoped the thalidomide baby would die. But gradually she rea’jsed that the child’s welfare and happiness were important to her. In the 8.8. C. programme, ‘‘.Limbless Baby” (main national link, 10 a.m., Sunday) listeners can follow the progress made by the parents with their child. The mother, father, the midwife who was present at the birth, and the doctors concerned explain how some of the problems have been overcome already.