Evening star., 1927-05-08
AID
TO MUSIC ARTISTS
Radio Seen as Enabling
Stars to Give Public Bet
ter interpretations.

Broadcasting is stimulating many
artists to put forth greater efforts and
nabling them to present better per-
formances than they could ever
achieve in personal appearances. ac-
cording to several musical students
and musicians experienced in both
microphone and stage presentations.
We are discovering in our work,
states julius Mattfeld, musical librari-
an of the National Broadcasting Co,
many artists who are at their best
when performing for'the microphone.
In the quiet of the broadC sting studio.
divorced from the mental pressure
which visible audience alwa.fs causes,
these artists can more completely
utilize their talents. They are inspired
by the fact that countless numbers OF
people are hearing them, while they
are free from the nervousness which
arises from the actual presence of
listeners in any sort of IA personal APP
pearance, Moreover. we are discover.
ing many artists experienced in stage
work who prefer the broadcasting
studio to the theater or the concert
hall"
Prior to his connection with the Ma
tional Broadca asting Co. Mr.. Mattfed
was acting chief of the music division
of the New York Public Library. His
regular contributions to the musical
press made him known as a student
of music whose opinions are worth
while
"There have been outstanding eX.
amples in musical history" he re-
marks, "of artists who could never do
their best before large audiences. Con-
sequently, they have been listed among
the great musicians of their day merely
through their compositions. Stephen
Heller, for instance, was an eXcep-
tionally fine pianist, but he never APP
peared to the greatest advantage out
side of his own salon.
Chopin Held Example.
Chopin is another example OF a
marvellous performer whose real abil-
ity was never known beyond the COM
paratively small circle which included
his intimate friends. Before them he
could present his own and other com
posers' music in a manner which prob
ably few pianists have achieved. But
the thought of facing a great audience
of people who were strange to nun
kept his remarkable gifts as an artist
from the world. We know him as q
great composer, not as great per-
former.
Il believe that both Chopin and
Heller would have made outstanding
radio artists. Alone with the micro
phone and few of their friends, they
could have allowed the world to enjoy
their extraordinary gifts"
The fact that broadcasting stimu'
1ates rather than hinders the per-
formances of artists is borne out by
the statements of two musicians VINO
have had wide experience III both per
sonal and microphone appearances
Jessica Dragonette. lyric soprano, an
Arcade Birkenholtz, violinist. Both
are being heard regularly over the air
through the associated stations of the
National Broadcasting Co.'S networks.
Jessica Dragonette is well known to
theater audiences along Broadway.
She sang the only solo part in Max
Rheinhardt's original production or
mThe Miracle" at the Century Theater
in New York The following season
she proved her versatility by her per-
formance of the leading female role IN
THE Student Prince" Still later she
played the ingenue part in the Grand
Street Follies of 1925.
Radio work is more difficult than
stage work in many respects" Miss
Dragonette says. For that reason l
believe that it gives an artist better
opportunity to show his true worth.
on the stage there are tricks of ges-
ture and other artificialities which en-
able a singer to cover up vocal iazl-
ness or voice imperfections. But the
microphone, by removing the visual
appeal, shows up all vocal tricks as
just what they are.
II know that / work three times as
hard during a broadcast appearance
as | would on the stage. And yet !
love the work. 1t is interesting and
intensely stimulating. Radio. by the
very fact that it appeals to the ear
alone. quickens peoples imaglnatlons.
Theatergoers Disappointed.
practically every one who attends
a performance of a play carries with
him some preconceived ideas of what
he is about to see, with the result that
the majority of theatergoerS are dis
appointed when the final curtain falls.
Radio listeners can have no precOn-
ceptions of what they are TO hear
when they tune-in a program. Music
over the air is bound to conjure up
memories and mental images in the
minds OF those who hear it. That is
the basis of the lure, of the micro
phone. 1t is very nice to feel that L
am helping people 10 Dullu ar cdslltS
and dream dreams"
Arcade BirkenholtZ is noted as
concert as well as broadcasting art
list. The great master, Leopold Auer,
has called him one of the most gifted
violinists of the younger generation.
Il enjoy my appearances before the
microphone," Mr.. Birkenholtz states.
I'm some strange manner | can sense
the fact that people are listening to
my playing even though | cannot see
them. And believe that the fact that
my audience is invisible enables me to
concentrate upon my work to great
er extent than / can hope for on the
concert stage. In the broadcastlng
studio / am not annoyed by the petty
disturbances which are bound to occur
when a large audience assemblies in
concert hall If my radio listeners
cough or rustic their programs l can
not hear them, and if they move about
in their chairs they cannot disturb me.
Beyond the fact that conditions IN
the studio help me TO concentrate upon
my playing, / believe that radio Work
possesses other advantages from the
artist standpoint. A performer makes
a. many appearances over the air IN
six months as he would in the ordi-
nary course of two or three years on
the concert stage. This neceSsitates a
much greater repertoire on the part
of artists who are facing the micro