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THE two Trios which Mendelssohn wrote for
Piano, Violin and 'Cello do not rank among his most famous works, but they are admirable examples of his sincerity and tunefulness, and every Movement in them is put together with great accomplishment.
' Scherzo,' to a musician, means larks. Mendelssohn's larking is cheerful, but he is careful not to offend against the proprieties.
/ In the ' Quick, impassioned ' Fourth Movement the 'Cello has the First Main Tune, and then (after a little treatment of part of it) a Pianoforte arpeggio brings in the Second Main Tune. loudly announced by the Strings. These two ideas, and one or two tributaries, form the basic material of the Movement, which swings along in bold and brilliant style, the Pianoforte especially having a splendid time of it. WILFRED HINDLE (Tenor)
THROUGHOUT 'almost all Dvorak's work we feel the presence of the national element-of the Bohemian folk-songs and folk-dances that he heard in the village alehouse or on the village green.
A Dumka is a piece of a passionate elegiac character, and the word Dumky is the plural form. Dvorak's Dumky Trio, for Piano, Violin and 'Cello, consists of a succession of brief Movements which have in common a passionate emotion.
ONE spring day in 1873 the Professors of the Moscow Conservatoire, Tchaikovsky and Nicholas Rubinstein among them, shut up their books and pianos and had a jolly trip into the country, hearing, during the day, some folk-songs, sung by village lads and lassies.
When Rubinstein died, Tchaikovsky commemorated his friend in a Trio, inscribed ' To the memory of a great artist,' and, with the recollection of their happy picnic in mind, used one of the folk-songs they had heard that day as the theme of the extensive Second (and last) Movement of the Trio.
In this Trio all the resources of the instruments are used, with remarkable effect. One almost feels, at times, that a whole Orchestra is at work.
The Trio is in two Movements only. The
First is an Elegiac Piece, with a rhapsodical note unusual in such expressions of emotion. In the other Movement, the Air with Variations, the Theme is presented in many styles, appearing now as the basis of a Waltz (Variation VI), now as the ' Subject' of a Fugue (Variation X), and sometimes in more sombrely expressive forms. Variation XII. the last (Quick, resolute and fiery), is extended almost to the proportions of a separate Movement, and at the final page we have the sad rhythm of a Funeral March.


Michel Dore
Michel Dore
Hilda Ricketts
Wilfred Hindle
Nicholas Rubinstein

2ZY Manchester

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