THE WIRELESS ORCHESTRA, conducted by JOHN ANSELL
SYDNEY NORTHCOTE (Tenor) MAURICE COLE (Pianoforte)
Overture to ' Ruy Bias '
3.40 SYDNEY NORTHCOTE with Orchestra
Recit., ' Ye people, rend your hearts' Air, ' If with all your hearts '
3.46 MAURICE COLE
Scherzo in E Minor
Prelude and Fugue in E Minor, Op. 35
Scherzo from ' A Midsummer Night's Dream '
4.10 MAURICE COLE. with Orchestra
Pianoforte Concerto in G Minor
MENDELSSOHN'S Italian and Swiss tour in 1831. when he was twenty-two, delighted him, and this work. which he wrote soon after his return, seems to be an expression of his high spirits, his gusto in enjoying the pleasures that life was bringing him.
There are three Movements.
I. (Very quick, fiery.) Mendelssohn plunges almost at once into his First Main Tune, which the Piano lias by itself.
The Soloist and Orchestra for a while toss a conversational ball to and fro, and then the quiet Second Main Tune creeps in. These tunes are developed in vigorous fashion, and after their recapitulation, a Trumpet and Horn passage leads us to a new key for the next Movement which follows without a break.
II. (Rather slow.) One Main Tune. expressive and restful, suffices here. It is given out by the 'Cello, to which Mendelssohn was fond of giving themes. The Movement consists of delicate, varied repetitions of this, by either the Soloist or the Orchestra.
III. A short introductory section (Very quick) leads to the brilliant First Main Tune, a galop for the Piano. Here is the essence of youthful vivacity, that in Mendelssohn was never tinged with vulgarity, but always had in it something high-toned and urbane.
After the opening Tune comes -a second idea, n coruscation of arpeggios, much used throughout the Movement.
A third motive is a phrase for Flutes, consisting of a repeated four-note figure, the second note trilled.
Using these materials with brilliant spontaneity and handling his Orchestra (especially the Wood-wind) with delightful ease and certainty. Mendelssohn works up the Movement, rounding it off with a final irresistible outburst.
4.40 SIDNEY NORTHCOTE
Death Song of the Boyard On Wings of Song Waiting
' Scotch ' Symphony
QUICK responsiveness to beautiful sights and sounds as a characteristic of the fine artist.
The musician's response to such stimulus often takes the form of setting down his impressions in music. Thus it was with Mendelssohn when, as a young man of twenty, he paid his first visit to this country, and spent six delightful summer weeks in touring the Highlands of Scotland. His Hebrides Overture and the Scotch Symphony both reflect the experiences of that happy time.
The FIRST MOVEMENT begins in a romantic and melancholy spirit and goes on to treat two well-contrasted tunes, working them up into a stormy climax and finishing with the sad melody heard at the commencement.
In the SECOND MOVEMENT (connected with the First by two plucked String chords), the Highlander's foot is clearly on his native heath and his step is light and free.
The THIRD (Slow) MOVEMENT has a First Main
Tune full of feeling, and a Second that is solemn and march-like.
'In the Last MOVEMENT we have a vivid picture of Scottish heroism and strife in ' old, unhappy, far-off days.' Into this Movement, we mav take it. the Composer wove his memories of the Gathering of the Clans, a brave spectacle that he was fortunate enough to witness at Blair Athol.
Address by the Very Rev. C. L. WARR. Dean of the Thistle and Chapel Royal
S.B. from Edinburgh
Metrical Psalm 61 (Tune, Kilmamock) Prayer
Prose Psalm 91
Lesson, I Corinthians, Chapter xiii Prayer ' '
Hymn, ' I heard the Voice of Jesus say ' (No. 410, Church Hymnary, Revised Edition) Benediction
Vesper, ' 0 Saviour, ere we Part'