Radio stars (Dec 1938)

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RADIO STARS WHO IS GERSHWIN'S SUCCESSOR? (Continued from page 45) . . . Jtike. Ikti Beware of outgrown shoes. They ruin baby feet. Save your baby's feet. Buy inexpensive Wee Walker Shoes and change to new ones often. Carefully proportioned lasts afford barefoot freedom and correct support. Wee Walkers have the shape and other features endorsed by authorities. Wee Walkers cost less because they are sold nation- ally through store groups with tremendous buying power and a small profit policy. See jr >v them—compare them—in the Infant's $* CT ?I T,C '\ Wear Department. Sizes up to about age ■ySSfiJT* 4. For baby's sake accept no substitutes. W. T. Grant Co. S. S. Kresge Co. J. J. Newberry Co. H. L. Green Co., Inc. Sears, Roebuck & Co. Charles Stores F. & W. Grand Stores G. R. Kinney Co.. Inc. Isaac Silver and Bros. Metropolitan Chain Stores, Inc. Schulte-United Stores Lincoln Stores, Inc. ad day* Reduce the pain Save your nerves ^ No narcotics * /# TABLETS ~W Genuine milk-oils . . . resembling natural human skin oils . . . bring amazingly quirk result*. Gel this all-purpose cremc at department, drug, dime stores and beauty shops. WART CREME OF MILK CREME CONTAINS MILK-OILS BLENDED WITH OTHER OILS 64 discussed. Yet lie definitely pointed out that no one, so far, has exhibited the ireadth and all-inclusiveness of Gershwin's alents. Scott, Gould, Ellington, Grofe—they are •our candidates. The experts agree sasically that these four are the most likely nominees. All have potentialities. All are writing American music free of European influences. All are honest, sin- cere workers. Here they go up on dis- play : RAYMOND SCOTT Scott, as you all know by now, is the 29-year-old younger brother of Mark War- now. His real name is Harry and he became famous when he organized the fabulous six-man Quintet. He started out as an electrical engineer and was doing very well in school with that subject when he decided to switch over to the Institute of Musical Art. But don't think that Scott just stopped being an engineer, because he didn't. Some- thing like half of his music is built with engineering principles applied—to such things as microphones, amplifiers and transmitters. After his graduation from the Institute, he took a job at CBS in the house band. Mark was responsible for that, and he it was who held the baton over his kid brother most of the time. It was also Mark who was responsible for introduc- ing Harry's first compositions. The pair of them are supposed to have plucked the Scott label from the telephone book to avoid mix-ups. Mark played Scott's first successful piece in 1932. It was called Christmas Night In Harlem. You may remember it as being a little different from his later works, which now include twenty- five successful ones. The Quintet, actually, was Scott's first major work. He got together with five other members of the CBS house band. The combination was Dave Wade on trumpet; Lou Schoobe, bass; Dave Harris, saxophone; Johnny Williams, drums; and Scott at piano. The line-up is the same now, with the exception that Pee-Wee Irwin plays trumpet. In creating new compositions and ar- ranging for the Quintet, Harry likes to use his engineering training to get new acoustical effects. Before one of their regular recordings is made, the boys take recordings of their rehearsal periods and keep on with the practice records until the number is perfect. Scott is supposed to compose the same way. It is said that he has never written down a note of his music. He gets his ideas at the piano, plays them, the members of the band get it that way, a record is made and you have a new Scott composition. That system of composing applies to the Scott titles you are familiar with. Such things as Powerhouse, Twilight In Tur- key, Toy Trumpet, War Dance for Wooden Indians, Dinner Music for a Pack of Hungry Cannibals and the others. He has just finished Siberian Sleigh Ride and Bumpy Weather Over Newark and is now working on Twenty-Five Women In a Dead Man's Bed. All this doesn't sound much like Gersh- win. However, some authorities point out one very essential similarity: Scott has much the same melodic and rhythmic sense that George had. But they say Scott hasn't the depth of Gershwin. That's one phase of the younger Warnow's work, how- ever, that no one can pass on yet. At present Scott is working on a series of compositions which hardly anyone knows about. There are several long symphonic suites and other heavier musical forms in this group. CBS is turning over to him a symphonic orchestra with which to ex- periment. If this combination pans out the way Scott's intimates expect, then we'll be able to compare him with Gershwin on more points than melody, rhythm and un- usual creative ideas. Right now, Harry—still a young man- has aroused much the same attention that Gershwin did when he started out. MORTON GOULD Even younger than Raymond Scott is Morton Gould. Now twenty-four, he was eight when he was awarded a scholarship to the famed Juilliard School of Music. His career is a phenomenal one—his ac- complishments just as fantastic. Together they make him a very strong contender. Gould began playing the piano when he was four. At six, his first song was ac- cepted for publication. At ten he entered New York University's School of Music. When he was fourteen he began compos- ing serious music. At seventeen he was making a lecture tour of Eastern colleges. When Gould was twenty-one he heard Leopold Stokowski conduct the Philadel- phia Symphony in his Choral and Fugue in Jazz. This year Fritz Reiner, conduct- ing the Detroit Symphony Orchestra, played Gould's American Symphonctte No. 2. After the performance, Reiner asked the young composer to write a symphony. The request was filled and it will be played by the Pittsburgh Symphony on December second. Alfred Wallenstein introduced his Concerto for Piano and Orchestra with the composer himself as soloist. In September, '36, Gould began a series of modern music broadcasts over WOR. which were heard nationally after MBS was founded. He now divides his time be- tween conducting, composing and arrang- ing. He is considered one of the best ar- rangers in the business. With the exception of opera, Gould has used almost every kind of music form. He has written an American suite. Three symphonettes. Two symphonies. A con- certo for piano and one for violin. Four piano sonatas. A five-movement ballet suite. Then there are his shorter creations —Deserted Ballroom, Lullaby to a Nezv Bom Love, Continental Serenade, Man- hattan Polka and Robot, All in all, Gould has had more than forty compositions pub- lished. has had more then forty compositions pub- butes. Primarily, his idiom is entirely American. He is writing both light and