Radio Times, dune 19th, 1925. EARNING A LIVING BY RADIO. By P. P. ECKERSLEY. ttLASa (aH Bey THE OFFICIAL ORGANOFTHE B B. C. li He clabeendl at th Vol. 7. Now 91, ismee aan Newoor | EVERY|FRIDAY. Two Pence. OFFICIAL <noMage Songs That Live. PROGRAMMES By S i r RICHARD TERRY, Mus. Doc. for the week commencing (Until a year ogo Sir Richard Terry was away much of the organist Pei director of music at Westminster SUNDAY, June 21st. drudgery of a Cathedral; He performed a national service by sailor's life, trioch retrieving from obscurity the works of Tudor = SS eee composers. He is also the greatest living af the romance lett MAIN STATIONS, authority on sea shanties.| the seas as. well * ik sh LONDON, CARDIFF, ABERDEEN, GLAS- HES wireless enthusiasts listened to the. sea shanties broadeast lt is. a well- GOW, BIRMINGHAM, MANCHESTER, regently “from the Albert -Hall, 1 known fact’ that BOURNEMOUTH, NEWCADSILE, can well imagine that many. ol them, net so fone apa BELFAST, as they sat in their armchairs with the nearly everyone ‘phones on their heads, felt inclined to sang at. has work, HIGH-POWER STATION. join in. those -rollt king choruses, The The sailor shanties (Chelmsford.) present popularity of the sta Shanty is a ate amongst the RELAY STATIONS. good sign, and it shows that many people last to die out im are beconting tired of“ that unrest w hich this country. Cap- Si RICHARD TERRY, SHEFFIELD, PLYMOUTH, EDINBURGH men miseall dehght “—I mean jaze musi stan shanties were LIVERPOOL, LEEDS—BRADFORD, —waid are returning to the. older and weed for heaving the anchor and similar HULL, NOTTINGHAM, STOK&-ON- simpler melodies, operations... When setting sails, a halliard ‘TRENT, DUNDEE, SWANSEA. = - cd a shanty was used to help them pull their No one knows howthe shanty came by rapes in rhythm. Cannot you imagine the name. AH that is known definitely the “long pull’. te which this halliard SPECIALCONTENTS. is that you should not talk about " chan shanty was the accompaniment ? WHAT RADIO HAS TAUGHT ME. ties,” as some literary landsmen do, unless y Oh. pity poor Reiben Ranzo| By Vincent Lopez. you wish to make any old salt amongst ‘ Ranzo, bovs,. Ratz. your hearers blush for your. ynorance. ' Oh, poor old Renben Ranze | fe # * * Kanvo, boys, Rana, A KING'S HAND IN CHURCH MUSIC. * * * a By Francis Gribble. shanties originated in the merchant ei service, They were sung only in sailing Most of the halliard shanties were quite OFFICIAL NEWS AND VIEWS. ships that carried passengers and mer- short, the capstan ones were wsually a longer, but each had its breezy chorus. chandise, mever on omen-of-war. And WEEK. Here is a verse from a famous capstan PEOPLE YOU WILL HEAR THIS they were BUNS a5 an accompaniment it) —S——- Shanty :— work, not in the sailers’ leisure time, te LETTERS. Our ship went sailing owt over the har, The donkey engine and stean: winch have ©, Rit! —————-= supplanted the old windlass and c:apstan ; IMPORTANT TO READERS. Ancdowe pourterd her nose for the southern star there are ‘no longer any sails to be manipu- And we're bound tothe Rio Grande, The addcess of “ The i i &11, Southampton lated. But in the old. days all such Street, Strand, Londen, W.C.2 Then awny, love, away, The naif Ff the British iabeeideail Cc Ead., operations as heayyne the anchor, setting “Wavydown. Ria, in 2, SawerEi, Sirand, casio. Wicn Chant: and furling suis and the like, were done 50. fare you well, my bonny young pitt, PATES. OF SUBSCRIPTION to ““The Radio Times by hand.- Each job had its special shanty. For we're bouncl to the Rio Grande, lindoding oodtage) i Ff Malogut ha (Forcige), 152 Ba. | Twelve Mouctha (Britieh), Lis. Gd. When sails left the seas, ancl steam blew (Continaed overleaf in column 3.) i a otg — RADIO TIMES —— jwcne Fao, [eh 4 Kine's Haadin ChurchMusic. Low-Born Songs That Live. (Continued from the previous page.) The “Merry Monarch” and Lively Anthems. By Francis Gribble. Generally, there was no connection whatever between one verse and another of these songs, E are all familiar with the announcement in All Hallows Day, ane heard o fine anthem made and, of course, the tune ia all that ia really the Fook of Common Prayer that “in by Master Pelham who ia come over.” unportant, An interesting parallel to these quires and aces where they aing here followeth Nor was the merry monarch the only Stuart British working songs is the“ Volua Boutmen's the anthem,” Tt haa eo followed since an early king wha took an interest in anthems. His Song,’ which waa formerly sung in Ruesia on date in the reign of Queen Elizabeth, being the gloomier brother, James IE, alao did wo. An the hanks of the rivers ax the men hauled their ilistinctivé contnbution. of <Angltaniam to anthem which specially pleased him was Blow's weighted boats along like canal horees, Chirch- music, “T beheld, and Io." He sent Father Petre to [t ia only aa folk-music that D should describe The Reformation did not dixestabliah the compliment the eompoger on it, which the “iy of these shantics aa clasics, The tones musicians when it disvarded the Masa. There Jesuit. duly did, adding, howerer, on his own are al very beautiful and if is almost a national were come notable musicmns in England im account: “For myself, I think it too jong.” duty that they should be preserved. thoer dayi—amiahle mem whom it wae the Whereat Blow rejoined: “ Thot is the opinion * a . = pleaeont custom of the age to excuse for hereay, of but one fool, and 1 heed it not.” Petre was When stecmehipes first made their appearance, when other people were being burnt for if, in sivangry that he persuaded the King to dismiss music in this country had reached its nadir, consideration of their useful talenta. They Blow from the post of composer to the Chapel (ur folk-songu Were forfetten, our composers remained attached to the churches and mace Royal; but Janica himeclf waa in Hight from were néglipible, end our coneerta wore generally their influence: felt. The evolution of the Wiliam of Orange beforn the diamiesal could a hiteh of secomed-rate foreign moosic, In these anthem resilie). “And, Service concinded, ‘a take effect, early Victorian times: the “seriousmiddle godd anthem was sung,” writes the attiquary Encourage Brighier Services. elazees foal thor Oritero, bat the socalled Sbrype, an 1M. A comparatively dark age-in the history of “untutored " chistes still retamed their instinct A Musical Compromise. the anthem followed, ond lasted for more than for song and began to make their own music, Tt waas—or, nf-all events, it-came to be—a a century. The Church compositions of that These rude composera knew nothing of “cul- aort of musical compromise. In the Catholic period, with the exception of Handel's, are tured” music, but they were masters of that comtries of the Gontinent, Church mosio wae clescribed aa “ solid and reapectable, but, in the one-dimensional form of music known as brought, to some extent, under the inflaence of main, dry and perfunctory.” The revival of melady, and they understood what is best de- the opera. The same composers often com- the art was contemporaneous with the beginning ecribed aa “lilt ”—a form of rhythm to which posed for the Churches amd for the atage. of the Tractarian Movement, Jt hes been the masses always react immediately—and tho Rossimd, Verdi, and Gounod are great and augeesterd that the musicians were inspired by momsie:ball ditty was the result, cloriqu examplns. the new doctrines taught by such men as Posey + * . * and Keble; bart that theory is not very credible, In England, sacred and secular mosic were If the music-hall song was sometimes dail regarded as separate arts; and Protestant The encouragement which the clergy then began to give to brighter services, after a tong period of and crude, it cannot be called unpleasint, and éritices promouncedl Catholic Chureh and cathe- 1 would sooner have healthy crudity than sug- tHlovenliness, niet hayes been a more potent fac- draf mosic unduly ornate, some of them even geativeness, There ia more healthy fun-in a tor jad the imprevement, in fact, com@eided with going so for aa to style some of it “ tawdry rollicking mursic-hall-‘song than in any “ strictly Aforwird musical movement throughout Europe. and «ensational,” proper” shop ballad. Such songs as Tosti's fo it came about that all our organists began One need pot join in the dispute. The view “Good-bye” are not one tenth as good, and writing ffithema: and. as Mr, Dickinson pute it iaken by anyone whe docs join in it ia pure to in his “ Music in the History of the Western their sloppy sentimentality nauseales me. depend more on prejudice than on reason, The Chureh,” “in this numercus company we find The inner significance of the sea- shanty is in poimt to be noted is that the mere hymn, to be the names of such men as Goss, Bennett, Hop- the fact that it was the creation of working men Hing by congreyitions in union, waa mot king, Monk, Barnby, Sullivan, Smart, Tours, during a period when their eoula were starve! important enough for musicians of the cabbre of music, The so-called “‘cultured™ classes of Tallis and Orlando Gibbons, who hae been Stainer, Garrett, Martin, Bridge, Stanford, Mackenz.e, and others not lees worthy, who have had their music and enjoyed it in a emug and ealled “the Englieh Palestrina.” The choir self-antistied way.