The Washington times. [volume] (Washington [D.C.]) 1902-1939, 1927-04-16
S0DERO SCORES
IN 0RATOR|O

in URRl URlU
The industri lus Mr.. Heinz has
put no more variety in the pickle
business that broadcast programs
introduced to radio reception last
evening. Starting in the early
evening with 3 volume and CLAIR
ity that brought everything and
anything to receiving sets. noise,
fading and station interference
grew In quality and quantity as
the evening progressed. Then,
when the late hours were reached.
high-pOWer stations started broad
casting with volume and clarity
that was deaftning. The situa.
ton was probably due to the fact
that many st..tiOns signed off
earlier than usual In observance
of Good Friday. Altogether the
evening was most interesting and,
on the whole. very satisfactory
for distance tuners.
During five years OF more or less
intensive listening to and preparing
programs for broadcast by radio, we
have never heard music OF finer
quality or better presented than
that which distinguished the Good
Friday observances in broadcast
stations throughout the continent.
In a lifetime of study and atten-
ton to music from the standpoint
of the professional listener. we
have not heard Rossini's master.
piece, "Stabat Mater" presented as
the genius OF Cesare Sodero and
his associates of WEAFN gave IL
to the tens of thousands that make
up the vast radio audience as the
final feature Of the evenings most
varied concert.
While Margery Haskell, soprano.
and Jack Oakley, basso, provided
the most perfect Of interpretative
performances we heard OF two of
the most difficult oratorio parts
that have been prepared for those
voices, 1t was the direction of the
production, the sense of drama and
the most minute shading of every
tone and combination of tones which
the mind and comprehension of
Sodero provided which made the
performance what it was. Again
did he demonstrate his uncanny
ability of condensing two hours Of
the most intensive music drama into
one hour Of thrilling drama. While
there was no moment when the
emotions of the listeners were not
keyed to the highest pitch through
the hour, yet there was no sense
of mental strain and the succession
Of climaxes stimulated rather than
exhausted, producing in the end
that feeling of religious exaltation
only a masterpiece OF music In.
terpreted by master of direction
can create.
GOOD FRIDAY
PLAY THRILLS
From its start in the early eve
ming hour the WEAF-WR0 pro-
gram provided a succession of
thrills of peculiar appropriateness
to the day. ''The Terrible Meek"
Charles Ram Kennedy's impressive
drama. as acted before the micro
nhone by Edith Wynne Mathison
and the author, made a very star
ting departure from the usual dra-
matte radio effort. Rather long for
production on the wave lengths and
striking example of the most
somber OF the realistic school of
playmaking. it came better at the
start Of the evening than it would
have been later on. The Goldman
Band followed with an elaborate
program of music of distinctly
devotional type. Then came the
Lord Calvert Orchestra and an
other similar program, excellent In
selection for the occasion.
In the concert provided by the
Anglo Persians listeners had oppor-
tunity to hear q striking example
of the individuality of Director
Louis Kaufman In the weird and
altogether lovely Interpretation of
Sibelius' ''Valse Triste" that came
at the beginning Of the program
and set a pace for what followed,
Most radiotics are familiar with
this selection, but it Is reasonably
safe to say that none have heard
1t played with the romantic pathos
Kaufman provided for them last
night. "Stabat Mater followed and
brought the evening to a late close.
One of the important things on
the outer wave lengths was the
Philco hour from WIZ and its bell
ringers. Bells are not usually good
instruments to use for microphonic
concertizing, but the artists who
handled them from WIZ gave q
r10Sf Mag sing narfnV,T1a me-