Arranged in conjunction with the ENGLISH FOLK DANCE SOCIETY, introduced by W. DOUGLAS KENNEDY
WE hear a good deal about the ' dance fever ' of to-day. This festival reminds us that our forefathers were every bit as keen on dancing as we are, only they had less time for the sport. Thanks to the work of Cecil Sharp and the English Folk Dance Society, these virile, essentially social dances have been kept going, and you can still in some parts of the country see a ' Side ' of Morris Dancers at their mazy work, and enjoy a sword dance.
Tunes that have to be played over and over again so many times must be simply, strongly and clearly made. Notice how the times you hear this afternoon stand the test. There are hundreds of them to choose from, and anyone who has joined in folk dancing knows how exhilarating they are. Steps and dance are intimately associated. Often a dance-fiddler cannot recollect a tune you ask for until he either sees the dance to which it belongs, or treads a few steps of the measure himself.
Folk Dancers do not dance for love of the archaic or through interest in folk-lore, 'but, like other people, to enjoy themselves.
And they dance these country dances because they find them such good fun, and good exercise too. Cecil Sharp found some still surviving in England, and deciphered the figures of many others from Playford's ' Dancing Master,' a collection made in the seventeenth century when country dances were universally popular. To promote the practice of Folk Dancing, he founded the English Folk Dance Society, now a thriving organisation with offices, at 107, Great Russell Street. Dr. Vaughan Williams is, its Musical Adviser.
If one has not previously had the opportunity either to dance oneself or to see these dances, such tunes as ' Haste to the Wedding,' ' Newcastle,' and ' The Old Mole ' will surely stimulate a desire.
Dances played by a FOLK DANCE ORCHESTRA t Conducted by GUY WARRACK
BORIS PECKER (Violin) and KATHLEEN COOPER (Pianoforte)
IN the summer of 1801, Beethoven, living happily in the country, as he loved to do, was able to complete seven or eight works-the Oratorio, The Mount of Olioes, a String Quartet, several Pianoforte Sonatas, and two for Violin and Pianoforte, jf which this in F was one. It is often called tlie 'Spring' Sonata, because of its grace and serenity. It has four contrasted Movements, the First bubbling with happiness, the Second a gracious little meditation, the Third a flashing tiny thing-just a twinkling bit of gaiety, and the Last a robust Rondo, full of good humour and containing some neat syncopation.
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