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A Promenade Concert

Synopsis

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Relayed from THE QUEEN'S HALL
(Sole Lessees, Messrs, Chappell and Co., Ltd.)
Elgar
THE B.B.C. SYMPHONY ORCHESTRA
(Principal Violin, CHARLES WOODHOUSE)
Conducted by SIR HENRY WOOD
PARRY JONES (Tenor)
THELMA REISS SMITH (Violoncello)
ORCHESTRA
Overture, Cockaigne
CITIES have often been pictured in terms of music, and no music-painting so clearly reflects tho mind of the composer as an exercise of this order. Just as the mood of Delius' Paris differs from Charpentier's musical conception of the city in Louise, so the mood of Vaughan Williams' London Symphony differs strikingly from that of Elgar's Cockaigne Overture. Elgar's music is indeed a vivid presentation of the Londoner's - spirit, more than a mere picture of the ' Town ' he loves. Cockaigne is healthy, sane, and jolly. It mirrors the optimism, the delight in spectacle, the hope, courage, and sentiment of London's citizens. It is a splendid picture of the brassy pomp, the cheerful hustle, and the quiet close that make up London's day. There is a kind of programme to the overture, but no true Londoner will need it.
PARRY JONES and Orchestra
Aria, King Olaf heard the Cry (King Olaf)
THELMA REISS SMITH and Orchestra
Violoncello Concerto in E Minor
Adagio, Moderato; Lento, Allegro molto; Adagio; Allegro
THIS concerto appeared in 1919. Elgar's in-JL cursions into chamber music date from the same period. It is restrained, full of passages of groat beauty, and enjoyably simple in construction.
ORCHESTRA
Symphony No. 2, in E Flat
Allegro vivace e nobilmente ; Larghetto ; Rondo, Presto ; Moderato e maestoso
(Conducted by THE COMPOSER)
A COMPOSER is usually held to stand or fall by his symphonies. Elgar stands, but not by the symphonies alone. Ho has written only two, and those in the space of the three years immediately following the period devoted to the oratorios. The first was inscribed to Hans
Richter. who produced it, and Richter thought the world of it, as he did of all that Elgar wrote. This, the second, was first hoard under Elgar himself, at the London Musical Festival in 1911. There are no modem twists in the form of it, which is of a classical dignity equal to the symphonies of Brahms, that stubborn upholder of tradition. Indeed, Elgar's second has this in common with Brahms' third, that; as is said of the month of March, it comes in like a lion and goes out like a lamb. Some clue to its intorprotation may suggest itself to listeners in the lines of Shelley which preface the Symphony :
' Rarely, rarely comest thou,
Spirit of delight.'

Contributors

Conducted By: Sir Henry Wood
Tenor: Thelma Reiss Smith
Unknown: Parry Jones
Unknown: Thelma Reiss Smith

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