PEGGY COCHRANE (Violin) JOHN PAUER (Pianoforte)
by LEONARD H. WARNER
Relayed from St. Botolph's, Bishopsgate (Actual notes used are B Flat, A, C, and B Natural)
Personally conducted by JACK PAYNE and Two OLD SPORTS
EDWIN BENBOW (Pianoforte)
Lady TREE entertains once more
From the Prince of Wales Playhouse, Lewisham
Sung by TATIANA MAKUSHINA
The Night; At the Ball; How could I forget ?
RECENT productions of The Father, The
Dance of Death, and others of Strindberg's plays have revived interest in the work of the great Swedish dramatist who, twenty years after Ibsen, tried to reverse the pre-feminist current of intellectual sentiment that Ibsen had set up. Professor Allardyce Nicoll , who talks on him this evening, is Professor of English Language and Literature at London University, and a recognized authority on the history of the drama.
Interlude from the Studio
THE NUTCRACKER Suite consists of an Overture and then comes a set of six short dances —' Characteristic Dances,' Tchaikovsky calls them.
First of all there is a humorously-formal
Next we hear the Dance of the Sugar-Plum
Fairy-the very essence of grace and daintiness.
The third Dance is a short whirling
Now we have a languorous, mysterious Arab
After the Arab Dance comes a very vivid suggestion of an odd. whimsical Chinese Dance.
The last of these Dances is a pleasant little
The Suite ends with the lively Valse of the Flowers.
THE Haffner has the usual four Movements.
The FIRST MOVEMENT is a very spirited piece, with a bold, uncompromising air.
In complete contrast with this is the gentle
SECOND MOVEMENT. Now all is dainty grace and charm. All the generally aggressive instru-. ments of the orchestra are kept silent throughout.
The THIRD MOVE
MENT is a cheerful Minuet and Trio.
Finally, there is a speedy, light - footed Finale.
SECOND NEWS BULLETIN from the Studio
9.20 NATIONAL SYMPHONY CONCERT
TWENTY-FIVE is a fine age at which to write romantic music. Grieg, at that time of his life (in 1868), was much interested in his native Norwegian music, and his already strong and vivid personality had fine scope, in a work such as this, of considerable dimensions.
FIRST MOVEMENT (Moderately quick). After a preliminary flourish on the Piano, the First
Main Tune is given out. It consists chiefly of a little curt phrase in Woodwind, and a more suave phrase, which is at first given to Clarinet and Bassoon, and then repeated at great length. This whole (fairly long) Tune is repeated on the Piano. Then follows a longish passage of rapid work for the Piano and Strings and Woodwind. At the end of this there is something of a climax, and then comes the beautiful Second Main Tune.
SECOND MOVEMENT (Slow). This is a brief, highly-expressive Movement. It opens with a long tune given to Muted Strings. At the end of this the Piano enters with a long, rhapsodical passage (lightly accompanied). Eventually, Flute .and Clarinet quietly suggest the Tune with which the Movement opened, and this the Piano then declaims at full length.
THIRD MOVEMENT (Quick and emphatic). A few soft, detached chords in the orchestra, a very loud Piano flourish, and one loud chord (Full Orchestra), and we are plunged into a lively Dance. The Dance is interrupted for a time, whilst we hear, as it were in the distance, a song. The Dance soon returns and, at the end, the song-tune is declaimed loudly by Piano and orchestra.
THE extract from the last of the Ring music-dramas gives us the sad-sweet song of the maidens who guarded in the depths of the Rhine the gold from which the ring was made. This was stolen from them, and has wrought much evil. Here Siegfried, the hero, comes to the bank of the river, and hears the maidens' warning of his death, so soon to come. We hear, among other leading themes from the drama, Siegfried's horn-call.
Tom CLARE (at the Piano)
BETTY BANNERMAN (Contralto)
JAY WHIDDEN'S DANCE BAND, from the Carlton Hotel