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A British Programme


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Conducted by B. WALTON O'DONNELL
FOR the Cardiff Musical Festival of 1904 German wrote this Rhapsody upon Welsh airs. It is woven without scum, but has four pretty definite sections, a little like those of a Symphony, and each of them grows out of some famous old Welsh melody or melodies.
The FIRST (a stately one) is based on ' Loudly
The SECOND (a. skittish one) is made out of ' Hunting the Hare' and ' 'The Bells of Aberdovey.
The THIRD ( a tender one) brings in ' David of tho White Rock.'
The FOURTH (a march-like Finale) uses the famous ' Men of Harlech.'
THE work is founded on old Cornish folk. tunes (several of which were used, in a modified form, in the work On the Cornish Coast which the Composer wrote for the Crystal Palace Brass Band competition in 1924). It opens with the sea shanty Lowlands
Liyw, which is given out by the brass and developed at some length.
The opening fragment of the tune plays an important part throughout the work, serving, in various guises, to bind the different sections together.
A second theme (Woolycombe) now becomes more prominent and is shortly followed by a quieter section in which the tune A maiden sat weeping, announced by the Oboe, plays the most important part.
The vigorous development of these themes suggests the rugged storm-bound Cornish coast.
The next tune to appear is that of the Helston
Furry Dance. This is introduced, apparently, by the oldest inhabitant of the place - somewhat unsteady on his feet. Others take up the Dance, and when it is in full swing, yet another tune, the Song of the Western Men, steals in, and the two themes are heard together in the Coda.
THIS piece was composed for performance by the massed Bands at Wembley on Empire
Day three years ago. It is built upon a number of somewhat unfamiliar tunes, the first of which, Tadg bui (Yellow Tim) was taken down by the Composer from a singer of folk-songs in County Cork. An Antrim tune, and snatches of The Green Ribbon, lead to the appearance, as a Euphonium solo, of Along the Ocean Shore. The Clarinets next start a ' chorus Jig,' and a Pipers'
Dance is heard a little later. Two more tunes are used, and then the last section is made out of two Reels.
IT has been suggested that in the three Movements which constitute this Suite the composer intended to pay homage to the three great races of Celts in the British Isles - the Scottish, the Welsh, and the Irish.
The Claim. There are three chief features in this first piece. The rugged energetic opening Tune seems to suggest the Highlands of Scotland. Later a more tranquil, rustic Tune is heard, characteristically Scottish. Then we hear a Call (perhaps the summoning of the Clans), and after this most of the foregoing material is treated in various ways, including suggestions of the bag-pipes.
A Lament. This is the piece that has been likened to Welsh folk-song. It consists chiefly of a simple, expressive melody which is worked up by the orchestra to a telling climax.
The Call. The last piece is very spirited and vigorous. There are in it three chief Tunes, the first of which suggests an Irish Jig, the second a Hornpipe, and the third a March. These three combine to make a brilliant ending.

THE BAND Welsh Rhapsody - German
3.48 KENNETH ELLIS Hear ! ye gods of Britain - Purcell
From Rushy Beds of Silver Nile - Balfe
Old Bard's Song - Boughton
3.58 BAND A Cornish Rhapsody - Geehl
4.10 KATE WINTER Familiar Things The Tea Caddy ; Tho Tall Clock ; The Old Chair - Kenneth A. Wright
E'en as a lovely flower - Frank Bridge
Will o' tho wisp - Spross
4.20 KENNETH ELLIS Helen of Kirconnel - Keel
Tho Wanderer's Song - Julius Harrison
I hear an army - S. Harrison
The Dip - Martin Shaw
4.30 BAND A Gaelic Fantasy,' Amraiu na n-Gaedeal' (Songs of the Gael) - B. Walton O'Donnell
4.50 KATE WINTER To the Queen of Heaven - Dunhill
Renouncement - Herbert
' Como unto these yellow sands - Frederick Nicholls SpringHenschel
BAND Celtic Suite The Clans ; A Lament ; Tho Call - Foulds


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