By The Rev. CYRIL JACKSON , Succentor of Southwark Cathedral.
Assisted by E. NEVILLE JACKSON (Violin)
AUTOMOBILE CLUB DANCE BAND, from the Royal Automobile Club
Piano Solos by C. E. Dixon. Songs by R. F. PALMER. Starry Clouds,' by Captain MAURICE AINSLIE. A Story told by R. F. PALMER
FIRST GENERAL NEWS
Bach's Forty-Eight Preludes and Fugues, played through consecutively at this hour daily throughout the month
The attention of listeners is called to the special article on page 6 by Mr. Filson Young on the purpose of this new series.
EVERYONE calls Bach's great collection of Preludes and Fugues ' The Forty-Eight,' as though there were something significant in the number. As a matter of fact, it is half that number, namely twenty-four, that is significant, simply because there are twelve major and twelve minor keys, twenty-four in all, and Bach wrote two wonderful Books of Preludes and Fugues, each Book having one in every major and minor key.
Why did he do this Well, until about his time, keyboard instruments were tuned in such a way that you could only play in a few simple keys. For the rest your instrument was hopelessly out of tune.
So Bach wrote two Preludes and Fugues in every possible key, apparently as a sort of Declaration of Faith, proclaiming his belief in a system of tuning which was good for every key. That is the system of tuning we always use nowadays. It is called ' Equal Temperament,' and from this name the full title of Bach's famous ' Forty-Eight' easily follows : ho called his collection The Well-Tempered Clavier.
A Gold-digger's.- Story by Robert Overton S.B. from Manchester LONDON listeners will remember
Mr. James Bernard for his performance in the scenes from ' The Dynasts' that were broadcast on November 1. In the North he is well known as a character actor, and as Professor of Elocution at Hartley College, Manchester.
In Half-an-hour of Nigger Minstrels-
By CLIVE CAREY
Excerpts from his Keyboard Music Played by HILDA DEDERICH
Fantasia in D Minor; First Fantasia in C Minor
A LMOST the whole delightful output of more than the first two centuries of keyboard music was written for the Harpsichord and the Clavichord-for there were no Pianos then. In the Harpsichord the wires are plucked, in the Piano they are struck. Hence the Harpsichord has a certain incisiveness and a beautiful, delicate, silvery, rustling tone which are all its own.
Most of Mozart's music was written for the Harpsichord, and all of it is conceived in terms of that instrument rather than of the Piano.
His keyboard works usually fall into .the formal scheme of movements, keys and contrasts known as the Sonata. His Fantasias represent a freer kind of structure. The first of the two we are now to hear has almost the character of an improvisation. Impetuous passages break in on the grave opening mood; there is a note of anxiety, that is soon dispelled by the gay little ending.
We have a tiny drama in sound, but with no story behind it-just the natural, concentrated, dramatic quality that the music of a master almost always possesses.
SECOND GENERAL NEWS
BULLETIN; Local Announcements
THE Travelling Theatre was one of the very first activities upon which the Arts League of Service embarked when it was founded in 1919. Ever since then a company (and lately a second company) has been touring the country side with a fit-up theatre and a repertory of short plays by first-class authors such as Yeata, Synge, Galsworthy, Tchekov and Shaw, as well as of folk-songs and shanties, dances, mimes and expressionist recitations. Although the Travelling Theatre is in no sense an amatear affair, and many of its original company have since made for themselves big reputations on the London stage, it has been a great inspiration and help to amateurs, both in play produotion and folk singing and dancing. The League acts in many other ways-there are the Travelling Portfolios of works by contemporary artists, the Travelling Exhibitions, the Poster Bureau, run in conjunction with Mr. E. McKnight Kauffer, and so forth-but the Travelling Theatre is the most original and most remarkably successful phase of its work.
StiU Another Viewpoint in the vexed
JAZZ v. CLASSICS Controversy
Expounded by PERCY A. SCHOLES and Illustrated by EUGENE CRUFT and his OCTET