Radio revue (Dec 1929-Mar 1930)

DECEMBER, 19 2 9 47 Philadelphia Orchestra Broadcasts (Continued from page 36) temps, with its famous alternations of meter — bars of 5-16, 3-16. 7-16, 4-16) — and its delirious culmination as the victim falls dead.' It is the writer's humble opinion that there is nothing in music, on the earth, or in the waters under the earth quite like the Stravinsky score, and it would not surprise him to learn that several listening victims fell dead at the ''delirious culmination." At its close one felt the urge either to fall over dead or to go somewhere and start a first-class war. There may be enjoyment somewhere in the musk, but it is seriously to be considered whether ears attuned to German and Italian forms can take up this altered form and tempo without a little more notice. Perhaps Stravinsky speaks in the language of our time and the generation now growing up. innocent of musical traditions, may enjoy his pagan snortings. shouting, hissings and beatings, but here are sensibilities and ears attuned to older methods, and we failed miserably, not to listen patiently, but to understand anything. We are ashamed to say that the only reaction we achieved was a bloodthirsty desire to go home and beat a Negro servant slowly to death. (Ritual of the Sacrifice!) Fortunately for us, Mr. Stokowski had provided a sedative exactly for this occasion. The overture "La Grande Paque Russe" (The Russian Easter; by Rimsky-Korsakow followed, based upon im THE BIG TEN Best Selling Popular Songs of the Month 1. Singin' in the Rain from Hollyzcood Revue. 2. Tiptoe Through the Tulips from Gold Diggers of Broadzcay. 3. Painting the Clouds from Gold Diggers of Broadzvay. 4. Am I Blue? from On JJ'ith the Show. 5. Pagan Love Song from The Pagan. 6. Lovable and Sweet from Tlie Street Girl. 7. Song of the Nile from The Drag. 8. Little by Little from The Sophomore. 9. Sleepy Valley from Tlie Rainbow Man. 10. Love Me pressions gathered near the Tikhvin Monastery and the Russian Easter cathedral service. Here we have ecclesiastic motives of lofty inspiration, grand hymns of the Russian church, great and reverent songs of the Resurrection, angelic choirs and trumpets, incense, innumerable candles, and the chiming of triumphant bells. This was music more familiar to ears in accord with the older music, and it was the more acceptable after the sketch of several high-powered locomotives tearing their way through tin-roofed sheds which preceded it. The murder instinct had left our soul. But Mr. Stokowski must speak to us in the language that is printed before him, as a duty to the times in which we live, and it may be that the fault in not being able to understand some of his messages is largely ours. Westinghouse Program a New Idea (Continued from page 23) All these gentlemen labored nobly in a good cause. Praise, too, is due Gladys Shaw Erskine, in the sketch "The Black Knight," Florence Malone and Charles Warburton, of the same episode ; Richard Gordon and Virginia Gardiner in "The Night Before They Sailed." In writing praise of the finished and inspiring work of Miss Gardiner, one is apt to become a little incoherent from over-enthusiasm. If this writer meets that gentle lady again, he will go mediaeval, hire a black horse and a suit of shining, silver armor, and carry her off. And also a bow to Ivan Firth, the herald with the resounding voice . . . and to the mob. Here were moments of real romance, a surging flood of great music, imaginations allowed to play, musicians and singers ably directed, gorgeous lighting (yes, right in the radio studio), and a spirit of cooperation behind the whole. Here indeed was the clash of steel and the noise of battle before our eyes and ears, the burning of a town with real red fire, gallant knights with braids of ribbonwound hair on their sword-hilts, fair ladies smiling down upon them, urging them to greater deeds, and the songs and dances of old France and old England. What if immaculate evening dress did supplant the glittering armor? It was a brave show . . . and well done. Westinghouse. ... we salute vou. — W. P-M. WHY, OH, WHY? This is Station YOY broadcasting, in an honest attempt to learn something. Why do announcers wear loud golfing suits? Why do the superdreadnoughts of opera companies of the vintage of 1908 come to the air announced as "famous stars"? Why do impossible window cleaners and waitresses attend "auditions"? Why do thousands of dollars find their way into the pockets of so-called "great artists," who have failed on the road, while younger and much better artists fail to get even a hearing? And why is that pink woodwork stuck all over the entrance hall of the Columbia Broadcasting System's new home?