Radio Broadcast (May-Oct 1925)

Record Details:

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66 Radio Broadcast publish a denial of this statement received in a letter from Mr. S. E. Baldwin, in charge of broadcasting at wtam: So far as we know, the only time this particular piece of music has been sung or played over station wtam was on the night of December 24, 1924 — Christmas Eve. On that particular program it was played or sung some five times, being first sung by the Cleveland Music School Settlement, under the leadership of Alice Shaw Duggan. The second time it was sung by the Old Stone Church Quartet, composed of Mrs. Robert J. Kelly, Alice Shaw Duggan, Harold Branch, and Fred S. True. This quartet is probably the best known church quartet in thecity of Cleveland. 1 1 was then sung by Miss Marie Similink, one of the leading contraltos of Cleveland. Later in the evening it was again sung by Doris Stadden Kaser, and at midnight played by trumpeters of the Cleveland Concert Band in conjunction with chimes from the Old Stone Church. The writer was either present or listened by radio to the entire concert; he is perfectly familiar with the music, and to the best of his knowledge, nothing of the kind of which you accuse us occurred on the night of December 24th. Isn't it rather unjust to publish statements of this kind without first taking them up with the supposed offender? There is a possibility that sometime you may be wrong. Frankly acknowledged. Probably a number of people heard more than one station at once at that hour, the leading fault of radio at present. At any rate, there is a moral in this. Never say it was so unless you heard it yourself. MAGDELINE BRARD A very artistic French pianist, who, although scarcely out of her 'teens, commands the admiration of connoisseurs in both this and her native country. She was recently heard through station weaf ABE MARTIN says: "So far I ain't noticed that any romances hev cum from th' publishing of radio photographs." Shall Broadcast Music Be Explained? IT WOULD be well if all the musical explanations now preceding the numbers presented on the Victor and Atwater Kent programs were completely done away with until they can be presented as they should. Some of us even go so far as to believe they should never be attempted under any circumstances. As matters now stand, they are compiled evidently from the studio dictionary by someone who knows nothingof the subject. They are put into type and then read by , 1 the announcer. When Toti Del Monte sang "Caro Nome" from " Rigoletto," the attempt to explain what the song meant was wholly futile. For that matter, you can go to any of these early Verdi operas and never comp 1 e t e 1 y know what the story is about. How, then, can Gilda's infatuation for the dissolute Duke be explained? Then there was De Luca's singing of "Largo al factotum" from Rossini's "Barber of Seville." We defy anyone who has been to see this opera one hundred times to tell the plot offhand. There was no attempt to tell the plot when De Luca gave his superlative rendition of this number, but there were some jumbled comments about his fame in the role of "Rigoletto," and then something about the role of the barber, "Figaro," in the Rossini opera. If something must have been said, why not let it go with saying that "Largo al factotum" is one of the most famous comic songs in all operatic literature, and that De Luca is unexcelled among living baritones in its interpretation?