Arranged by the PEOPLE'S CONCERT SOCIETY in co-operation with the B.B.C.
ELEVENTH CONCERT OF FOURTH SERIES. THE
AUDREY CHAPMAN ORCHESTRA, conducted by FRANK BRIDGE
The First Part devoted to modern British Music
by Phyllis Nash (Violinist) and Dorothy Dudley (Pianist)
NIECES' AND NEPHEWS' DAY :
Piano Solos by Phyllis Lavers and Celia Beach Recitations by Heather Strudwick and Iris
Songs by Doris Hancock ; 'Cello Solos by Sydney Lockerman.
ORCHESTRA, from the Prince of Wales Playhouse, Lewisham
Mr. PERCY SCHOLES : The B.B.C. Music Critic
AN OPERA IN Two ACTS, by Rossini
MANY listeners will have in their hands the libretto of the Opera. To those who have not, a short description of the action, showing where the characters appear, may be welcome.
The Opera, which Rossini wrote in the amazingly short time of three weeks, follows the machinations of two lovers. They are opposed by the girl's guardian, who intends to marry her himself, and are helped through by the town barber, Figaro-whence the Opera's title. (This Figaro, a creation of Beauniarehais, appears also in Mozart, as opera-goers well know.)
There is a long Overture (a favourite concert piece) which begins with a Slow Movement, and continues with a gay, Quick main section.
FIRST SCENE. At dawn, in a street in Seville, COUNT ALMAVIVA (Tenor), accompanied by his servant FIORELLO (Baritone) and professionnl MUSICIANS (Chorus), serenades Rosina, ward of Dr. BARTOLO. Presently the Count is left alone, and the lively, blustering Town
Barber, FIGARO (Baritone) appears, singing his famous Boom for the city's factotum. The Count finds him friendly.
Now Rosina (Soprano) appears on the balcony, with Dr. Bartolo (Bass). She manages to drop a letter of encouragement to her unknown wooer.
The Doctor drives her back into the house.
The Count bribes Figaro, who promises all help, and tells him to gain entrance to the house by disguising himself as a drunken soldier, as a regiment is expected in the town.
SECOND SCENE. Rosina, in a room in her guardian's house, is thinking tenderly of her wooer (who at present goes by the name of Lindor), and moping over her imprisonment in the house. Figaro enters and shows sympathy. He departs when the Doctor is heard coming. Bartolo enters with Dox BASILIO (Bass), Rosina's music-master. These two plot for the confounding of Count Almaviva and for the Doctor's own marriage on the next day with Rosina.
Rosina now has another interview with Figaro, to whom she gives a letter for ' Lindor ' ; and another with Doctor Bartolo, who scolds her.
Presently the Count arrives, disguised as a drunken soldier, and tries to billet himself on . Bartolo. A commotion arises ; soldiers enter. and the Count only avoids arrest by surreptitiously disclosing bis real rank to the officer. To the confusion of the Doctor, the soldiers draw back.
The Second Act can be described in a few sentences. The Count adopts a second rôle, that of music-master, and pretends to have come to Bartolo's house in place of Don Basilio , who is said to be ill. Bartolo has his suspicions, and while Rosina has her music lesson makes Figaro shave him in the same room.
Basilio, unfortunately, turns up, but the Count, with Figaro's help, bribes him and gets him away.
During the music lesson, the lovers plan an elopement. Bartolo scents a plot, and finally fetches a notary, who. however, is intercepted by the Count and Figaro and persuaded to replace the Doctor's name by the Count's in the marriage document.
Doctor Bartolo finally gives them his blessing.
Borneo, but Bournemouth'
MR. E. V. KNOX , who appears as the sixth in the series of Modern Humorists, is one of the very brightest of the stars that twinkle regularly in the historic pages of Punch. where nothing that was not really funny has ever been known to appear over his pseudonym of ' Evoo.' His publications in book form include ' Parodies Regained,' ' An Hour from Victoria,' ' Fancy Now ' and ' Queer Fish.'
Mr. E. V.
Of the LATE xvii. and EARLY xviii. CENTURIES Interpreted by Mrs. NORMAN O'NEILL
La de Croissy (Courante) TWO centuries ago French Composers, besides writing Ballet music and Operas, took delight in making dainty little pieces having fanciful titles. One of the first to set the fashion was Couperin, one of a wonderful musical dynasty of five generations. His special reputation rests on a large quantity of fine Harpsichord music, and on his book upon the art of playing that instrument. The ' de Croisay ' is a Courante-a lively édance in three-time, that originally had a nmning figure in it. In the second piece we can picture the clean, sharp outlines of the (? toy) windmills, their sails turning in the breeze. ' Sister Monica ' was perhaps a nun ; demureness and a quiet grace characterize her.
THE Gaillarde (Englislwd, Galliard) has been mentioned in a note earlier in the week . Chambonnieres, a favourite Harpsichord player of Louis XIV. was a particularly gifted performer, who taught some of the earlier Couperins.
AT the age of seven Ramean could read any piece of Harpsichord music put before him. When he began to write music himself he found exactly what the French taste of the day enjoyed most, and planned his work accordingly. We today enjoy it just as much as his contemporaries did, for it is the essence of grace and daintiness. The Tambourin, a particularly happy bit of music, is modelled on the old dance that had a persistently repeated bass not?, imitating the light drumming on a Tambourine.
THE Canaries, a sort of Gigue. was supposed to have come from the Canary Islands. Originally the two partners took turns at per
*' forming a drawing-room version of a savage's dance.
HE Cuckoo speaks for itself, in familiar -L tones, from out a hedge of running notes.