Relayed from St. Lawrence Jewry
MARIAN JAY: GERTRUDE COMPTON ;
MAUDE ALDIS ; ELSA MARTIN; ARTHUR SPEED
Quintet. Op. 44
Allegro Brillante ; Un Poco Largamente; Scherzo-Molto Vivace; Allegro Ma Non
Hymn, No. 298 (A. and M.)
Concerto in E Major for Violin
Allegro : Adagio, and Allegro Assai
Mr. GERALD GOULD and Miss MARY SOMERVILLE, Reading and Writing '
A. BONNET LAIRD, 'Merrie England'
' laved from the New Gallery Kinema
Favourite Items of Sone. Story, and Verse : ' Grow, Little Mush room, Grow.'' 'Ten Little Nephews,' 'The G.B.C.' (Philip Hugh ). Market Square' (A. A. Millie). Songs by R. F. PALMER
directed by SIDNEY FIRMAN
by the Royal Horticultural Society
Lieut.-Col. W. P. DRURY: 'Historical Sketches
-The Captain of the Ariadne.' S.B. from Plymouth
THIS is the last of the series of Historical
Sketches by Lieut.-Col. Drury, that have been so much appreciated by listeners. In it he deals with Captain Marryat, the naval officer who, after a distinguished career, in the course of which he took part in some of the naval actions of the Napoleonic War, made himself famous as a writer of novels of the sea, of which ' Mr. Midshipman Easy ' is the best known to-day.
relayed from the School
Chorus and Orchestra: Piano Solo, by the Winner of the House Instrumental Competition
Act II., Scene 2
Performed by the BRITISH NATIONAL OPERA
Relayed from the Prince of Wales' Theatre,
THE ORCHESTRA, conducted by ADRIAN BOULT THE Sacred Festival Drama,' Parsifal, was
Wagner's last work. In it he again treats of the legendary relic of the Eucharist, the Holy Grail (the cup in which the Saviour's blood was received at the Crucifixion), which he had brought into his earlier Opera, Lohengrin.
In Parsifal, Amfortas, the guardian of the Holy
Grail, has sinned, and sustained a wound from the Sacred Spear which will not heal. (The Spear, that with which the Saviour's side was pierced, was wielded by Klingsor, an evil magician who was once a Knight of the Grail). Amfortas and his Knights are in distress. Blessing comes to them once more through Parsifal, an innocent youth, the ' Pure Fool,' who resists temptation.
Klingsor, angry at his exclusion from the sacred
Knighthood, has created an enchanted castlo and garden. Here, with the help of Kundry, a beautiful woman, and her attendant Flower-Maidens, he tempts the Knights. Parsifal is led there, but is proof against the enchantments and wiles of Klingsor and Kundry and her Maidens. Enraged at the youth's defiance, Klingsor hurls the Sacred Spear at him. Parsifal seizes it and makes the sign of the Cross. Instantly the castle falls in ruins, the gardens wither, and Kundry, now clothed in rags, falls to the ground. Parsifal sternly addresses her : ' Thou know'st where thou may'st find me when thou wilt,' and departs.
Reading by FILSON YOUNG SWINBURNE'S ' Songs Before Sunrise ' bring us back in mind to that period, more than half a century ago, when free England hoped with enthusiasm for the revival of a free Italy. In those days Italy was, to use the famous saying of the diplomats, ' merely a geographical expression.' Fallen from the splendours of the Renaissance and side-tracked by the diversion of world-trade to the oceans, Italy in the eighteenth century had become a nest of somnolent and ill-governed petty states. A first breath of new freedom came to her with the conquests of Napoleon, but after Waterloo, the Italian Peninsula reverted almost to its former condition.
Almost-but not quite. For tens of thousands of Italians had fought in the armies of the great Corsican, and, short-lived as it was, Napoleon's Kingdom of Italy had shown the way to better things. The fires smouldered till 1848, the year of the great revolutions. The struggle of 1848-9 ended in disaster for the patriots. That of 1S59 marked a beginning of success, due to French nid, for which a price had to be paid. Only wit h 1860-the heroic enterprise of Garibaldi's Thousand-did the future dawn quite clear, and not till 1870 did Rome itself-long shielded by the prestige of the Papacy and the protection of the French Catholics-fall to the liberators.
Swinburne's ' Songs Before Sunrise ' were written during the last phase of this ' Risorgimento.' It is difficult for us to now realize the intensity of English feeling on this subject at the time. Permanent memorials of this generous wave have come down to us in our literature-the oratory of Gladstone, the poetry of Swinburne, and the novels of Meredith.
By EDITH LAKE
Books-Sterne's ''Tristram Shandy"'
LAURENCE STERNE ; the very unelerical eighteenth - century clergyman who wrote ' Tristram Shandy ' and ' The Sentimental Journey,' is one of those authors whom those who like them love, and those who dislike them particularly hate. Amongst the Sterne-lovers, ' Tristram Shandy ,' which was published in parts between 1760 and 1767, is more than merely a very good book ; it is a companion, a guide, philosopher and friend, an obsession, or a cult.
Interpreted by CLAUD BIGGS
Fantasia in C Minor : The Italian Concerto
THE Fantasia is influenced by the bold harpsichord style of Bach's contemporary,
Domenico Scarlatti , a player-composer who used a good deal of hand-crossing to obtain his effects.
Bach began a Fugue to follow the Fantasia, but never completed it.
THE Concerto is an attempt to apply to one instrument the principles of alternation and of contrast that were observed in writing music for an instrument (or group of instruments) used with some form of Orchestra. It is a Concerto, but a one-man Concerto, the only piece so named that Bach ever wrote for one performer.
The instrument for which it was intended was the double-keyboard Harpsichord, in which contrasts of tone unavailable in the single-keyboard form could he taken into account by the Composer. Bach's use of the one keyboard or the other is indicated by the words ' forte ' and ' piano,' and sometimes one direction is applied to the right-hand part and the other to the left, so presenting an effect which would have been impossible upon a single-keyboard Harpsichord, and the possibility of which upon the Harpsichord's successor, the Pianoforte, gives point to the name it has received.
The title refers to the fact that the Italians established the Concerto form as a chain of Movements (usually three-two quick ones, with a slow one in the middle).
There are three Movements in this Concerto. FIRST MOVEMENT. Quick. The theme with which this opens is not quite original ; Bach took it from a composer' named Moffat. The Movement is a charmingly flowing one. It will easily be realized in what way the player's performance on a one-keyboard instrument imitates the original manner of performance on a two-keyboard instrument, which, in its turn, imitated the playing of an orchestra divided into a small group of instruments, contrasted with a larger group.
SECOND MOVEMENT. Fairly slow. This rhapsodical Movement is a fine example of Bach's power of developing and binding together a freely-constructed piece.
It is really, in effect, a Violin tune, with keyboard accompaniment, and in the original edition the melody is throughout given to one keyboard and the accompaniment to another.
THIRD MOVEMENT. Rapid. A very happy, well-worked-out Movement, which, typically Bachian as it is hi its interweaving of parts, nevertheless, in its clear use of extended Tunes, and in its plain, straightforward harmony, looks forward a little towards the coming style of the Haydn Sonata.
Announcements. Appeal by THE LADY MAYORESS on behalf of her Christmas Toy Fund.