Tuning in…
Tuning in…
Castaway
1 appearance
Singer and recording artist known for musical comedy, operetta, and grand opera.
On the island
Eight records
Prelude and Fugue in C minor, BWV 847 – Fugue
The fugue from Bach's Prelude and Fugue in C minor, played by Harold Samuel.
The Dream of Gerontius, Op. 38 (excerpt)Favourite
Gladys Ripley, Heddle Nash, Sir Malcolm Sargent
An excerpt from Elgar's The Dream of Gerontius. The excerpt I have chosen from this work is leading up to that enormous and wonderful climax, 'Praise to the Holiest in the Height'.
Prélude à l'après-midi d'un faune
London Symphony Orchestra, Pierre Monteux
The opening of Debussy's Prelude à l'après-midi d'un faune.
A little tiny little French song taken from Véronique, sung by Dame Maggie Teyte.
Dichterliebe, Op. 48 – No. 7 'Ich grolle nicht'
Ich grolle nicht from the Dichterliebe, sung by Fischer-Dieskau.
Die Meistersinger von Nürnberg – Overture
Sir John Barbirolli, Hallé Orchestra
The overture to Die Meistersinger. This is a glorious piece of music about civic pride.
A song by Liza Lehmann called 'O Tell Me Nightingale', sung by my wife.
Carmen – Act II opening (excerpt)
Victoria de los Ángeles, Sir Thomas Beecham
Something from Carmen – the opening song from Act Two. This is from the set of records made and conducted by the late Sir Thomas Beecham. Now there was a man who really loved music.
In conversation
Presenter asks
4:57You mentioned hearing that [The Dream of Gerontius] for the first time in Liverpool, George. Is that where you were born?
I was born in Birkenhead.
Presenter asks
5:05How early in life did you start taking an interest in music?
I should think about seven years of age when I tried to play the violin, not very successfully. And my father then tried me at the flute, but that wasn't much better. And he thought, oh well, he'd better try the piano. I took to it like a duck to water and from thence onwards I didn't seem to have much trouble.
Presenter asks
10:11How did [you] start recording in 1909 while you were still a student?
I went to the [Petitfer] place because I thought I would like to get some work, and made a test. Nothing happened. I never heard anything from them for about twelve months. And then I was sent for. They heard me sing again, and they gave me a contract there and then.
The keepsakes
The book
an omnibus edition of Charles Dickens (as many Dickens novels as can be packed into one volume)
Charles Dickens
my favourite author, the one who wears best for my taste, is Charles Dickens. You can't have an omnibus edition of Charles Dickens. It's the size of a wagonet. So I would say, well, the greatest number of Dickens books you can pack into one volume.
The luxury
Paper and pens (self-writing pens)
I think I'd want paper and pens so that I scribble my thoughts, such as they may be.
Presenter asks
12:03Perhaps your greatest success as a recording artist has been in Gilbert and Sullivan. You've recorded the whole G&S repertoire, haven't you?
I've recorded the whole of the [G&S] repertoire once round on the acoustical method. Once round on electrical recording. And two thirds round on the on present day recording. In fact, the last opera we made was made only just over two years ago, and that was Ruddigore, in which I sang the part of Robin Oakapple.
Presenter asks
14:32You can look back on the musical world as it was at the beginning of the century. A very different world from today's. Are there more opportunities now or not?
I should have said there were more opportunities to day. You see, in the old days there were more choral societies than there are today. Therefore a serious singer would have more opportunities to exhibit his art than he has to day in that direction. But there was no wireless and there was no television. All they had as an adjunct to the ordinary concert world, or the opera world, or musical comedy, was making gramophone records. And as I said previously, only very few people made them. Very few people's voices were suited to this.
“Harold Samuel was not only a good friend of mine, but he proposed me for the Savage Club fifty years ago.”
“My father then tried me at the flute, but that wasn't much better. And he thought, Oh, well, he'd better try the piano. I took to it like a duck to water and from thence onwards I didn't seem to have much trouble.”
“I write about people because I like people, and I write regularly for two monthly magazines. And then I've done a good deal of musical journalism, and I've actually written two books on singing. They're technical books, of course.”
“My hobbies wouldn't help me on a desert island. I'm not a handyman in any way. If I can get anyone else to do the job for me, that is to say, looking after me, I delighted. If I'm forced to look after myself, I've got a strong bump of self-preservation, and I've no doubt I would survive.”
“The temptation, of course, is that I would like the record made by my wife. But, you know, on second thoughts, to be reminded of the absence of my wife would only cause me intense pain. Therefore I think I better set that aside and face reality. And to do so I would say that out of all the records I have chosen for this programme the one that would stay with me longest and remind me by faith is The Dream of Gerontius by Elgar.”