The STATION ORCHESTRA, conducted by JOSEPH LEWIS
Overture to ' Egmont '
ESTHER COLEMAN (Contralto)
Nature's Praise of God
In This Sepulchral Darkness (In Questu Toinba) I Love Thee (Ich liebe dioh)
IN Nature's Praise of God Beethoven gives fine musical expression to the simple majestic strength of the poem, which speaks of the sea, the earth and sky, of how they 'tell their origin's wonderful story.'
In this Sepulchral Darkness is the last of sixty-three settings of a poem, in providing music for which several different composers competed in friendly rivalry. It is the song of the spirit of a man reproaching his lady who neglected him whilst he was alive, and now disturbs his rest by weeping at his grave.
I love thee is gentle and affectionate rather than passionate. The singer thinks how he and his wife, day by day, share all their joys and sorrows.
Nigel DALLAWAY (Pianoforte) and Orchestra Second Pianoforte Concerto in B Flat
TJEETHOVEN'S earliest appearance on a Vienna platform as a Soloist was when, in 1795, he played for the first time this Concerto. It is called the second, but it was actually written before that which is commonly numbered as the first.
At that time Mozart had only been dead a few years, and Haydn was still alive. It is not, then, to be wondered at that Beethoven's early works show a good deal of these masters' styles; and in this Concerto especially the influence of Mozart is apparent.
The Concerto is in the usual three Movements. First MOVEMENT.-We have at the start the regular opening in which the Orchestra shows us the First Main Tune, before the Pianoforte takes it up. Similarly, the Second Main Tune is first heard from the Orchestra (First Violins and Bassoons), to be duly adopted by the Soloist.
The Working out of this material, and the representation of it practically in its original form, make up the rest of the Movement.
SECOND MOVEMENT-One theme only is Used, recurring, after little Contrasting episodes, in various settings, with typical ornamentation of the tune, Happy hints are here and there to be found of the individuality that was already breaking through the screen of Mozart's and Haydn's influence.
LAST MOVEMENT.-A care-free Rondo, in which the Piano has first cut at all three Main Tunes. No gayer wind-up for a light-weight work could be imagined.
ESTHER COLEMAN
Know'st Thou the Land ? (Keunst du das Land ?) The Secret (Das Gehcimniss) May Song (Mailied) Longing (Sehnsucht)
KNOW'ST THOU THE LAND? is a song in three verses, all of which follow the same plan. The first verse, for instance, opens with a meditation on a land where citrons and oranges grow ; then, with growing excitement, Mignon expresses her wish to flee thither with her dear one.
ORCHESTRA
Selections from the ' Eleven Vienna Dances
NlCEL DALLAWA
The ' Moonlight ' Sonata, Op. 2?, No. 2
ORCHESTRA
Minuet and Finale from Fourth Symphony