MURRAY BROWN (Tenor)
JOSEPH FARRINGTON (Bass)
THE WIRELESS ORCHESTRA, conducted by JOHN ANSELL
No better introduction to a concert of dance music could be found than Sullivan's
Overture to the Ball, for although it is not written for dancing it brings the spirit of the Dance before us in many of its familiar forms, like the preamble to a Carnival ball. It is spirited music, written when Sullivan was twenty-eightâ€”before he dreamt of winning fame as a Composer of Comic Operas.
THERE is nothing in the fragments of dance music which Gounod wrote in his Opera The Queen of Sheba to suggest an improper approach to sacred matters. Yet this Opera was banned in England as being too Biblical. All that London was allowed to know of it in the 'sixties (it came out in 1862) was learnt from a concert performance at the Crystal Palace, under the title of Irene, with all the Biblical references removed.
COPPELIA is perhaps the most famous of the pre-Russian ballets. It was produced at the Paris
Grand Opera in 1870, and has never lost its place in the repertory. Many of to-night's listeners will remember the glories of Adeline Genee 's dancing when Coppe!ia was running at the Empire, London; and many wil! find that the tunes in this selection have, in some way or other, already become familiar.
IN the Opera of Henry VIII. the King holds a fÃªte in the gardens of his palace at Richmond, a circumstance so unhistorical that the fete, and with it this Gipsy Dance, had to be omitted when the Opera was performed at Covent Garden Theatre.
A short Play written specially for Broadcasting by A. J. ALAN Cast
(Two Smart Modern Sisters who are house-hunting)
ON the front-door steps of an empty house,
88, Lansdowne Crescent, Albert Buckle is standing. He and his wife, the caretakers-in-charge, are just starting out to get a few things from the neighbouring shops before they close.
IN Moore's Lalla Rookh Feramorz (as it is there spelt) is the name of the wandering Kashmiri minstrel (really a Prince in disguise).
The ' Ballet Music ' consists of Interludes played between the Acts of the Opera.
Albert Buckle (A Caretaker):
Jane Buckle (His Wife):
Mrs Buckle (Albert's Mother):
THE MUSICAL AVALOS on the Three Xylophones
Bach's 48 Preludes and Fugues
Played through consecutively at this hour daily throughout the month
AN HOUR IN A MID-VICTORIAN DRAWING-ROOM
BY TYRONE GUTHRIE
Period : In the year 1882 Characters
Dinner is over, but the Colonel and the two young men are still in the dining-room. The women are alone in the drawing-room-eomfortable Mrs. Podbury-Pauncefote, Alberta, her pretty daughter, and Clara Twigg.
Mrs Poclbury-Pauncefote (hostess):
Alberta (her daughter):
Colonel Tupman-Tozer (her cousin):
Clara Twigg (her guests):
Alfred Pantin (her guests):
Frederick Blenkinsop (her guests):
Played by ADOLPHE HALLI. 3
DEBUSSY had no need to specify what kind of ' Minstrels ' were depicted in this bit of musical burlesque (the last piece of the twelve in his first book of Preludes). The stark, ' ragged ' (but not ' ragged ') rhythms, the solos on the Drum, the oilily vulgar'tune that comes swaying in, the clank of the banjo, everything spells Negro - of the restaurant, not of the plantation.
The sketch is very wittily done.
The Golliwog's Cake Walk is a simpler matter-just a syncopated joke for Debussy's little daughter. It is taken from a Suite of pieces entitled Children's Corner.
RAVEL'S Fox-trot is part of a Ballet, L'Enfant et les Sortilejes (The Child and the Sorceries), which was produced recently on the Continent. It is about a bad little boy whose habitual victims-the cat, the tea-things, the squirrel, the carpet, all the things he has maltreated-come to life and beset-him.
JAN WIENER is one of the young moderns who look upon the epio sentimentalities of the nineteenth century (in other words, the grand stylo of Beethoven. Brahms, and Wagner) as a slough from which the twentieth century should disencumber its enlightened feet. Accordingly he sees no harm in a little give-and-take between his own and contemporary popular style. Hence this ' Blues ' Movement from his ' Syncopated Sonatina.'
GYRIL SCOTT'S Nigger Dance shows how this kind of musical condescension was carried out about twenty years ago. The slangi. ness ' is much more guarded. There is a catchv lilt in the tune and in its rhythm, but otherwise the piece might be likened to an old-fashioned Toccata.
A Revue, entitled, ' A YEAR IN AN HOUR'
Music and Lyrics by ERNEST LONGSTAFFE Interpolated numbers by various composers
The Cast includes : Tommy HANDLEY. ALMA
VANE, DONALD . MATHER FLORENCE OLDHAM , PHILIP WADE , LILIAN HARRISON
Revue produced by ERNEST LONGSTAFFE