FEW of our British actors have a better claim to giver their reminiscences of stage and screen work than Mr. Gerald Ames, who is equally at home in either medium. In fact, in 1916 he abandoned the boards altogether, in favour of what American copywriters are accustomed to describe as ' the silver screen', and it was not until seven years later that playgoers had a chance of seeing him in the flesh again. Amongst many successes, he will, perhaps, be best remembered for his acting in 'The Prisoner of Zenda', 'The Dancers', 'The Fake', and 'You and I'.
(By permission of the Air Council)
Director of Music, Flight-Lieut. J. AMERS,
TOM KINNIBURGH (Bass)
WILL KINGS (Entertainer)
(An International Transcription in the Musical Idiom of Seven Nations—France, Germany,
Spain, Scotland, Ireland, Italy and Hungary)
Interpreted by MARK RAPHAEL
Folk Songs :
In Stiller Xaeht (In Silent Night) Sehwesterlein (Little Sister)
Erlaube mir fein's Madchcn (Allow Me, Dear
Mein Madel hat einen Rosenmund (My Maiden has Rosy Lips)
Feins liebchen (Sweetheart)
BRAHMS set a considerable number of folk-songs both for Solo voice and for choir.
All those to be sung to-night (with the of the first) are from a set of Forty-nine German
Folk-Songs, the last of three such collections that . l.e published.
The first song, In Stiller Nacht , comes from another of the collections, and is one of tho two or three best known of these traditional songs.
Schwesterlein is a conversation between a brother and sister. The former asks, ' Sister fair, it is nearly midnight; when shall we go home ? ' The sister would stay and dance with her sweetheart. In the end of the song is a note of tragedy, ' Sister fair, why do you walk so wearily ? ' 'I would fain lie under the turf, brother dear.'
Erlaube mir is a lover's petition to be allowed to see the roses in her garden. But the maiden is coy, and refuses, so the lover is left lamenting that he may only view such beauties from afar.
Mein Madel is another of the many jolly ditties in praise of what English songs describe as a ' nut-brown maiden.' The ' ]a la la ' refrain ends up with the assertion that the poor fellow has no peace, thinking of the coquettish maiden, who is clearly well aware of her enticing charms.
Feinsliebchen is another song with a ' la la la ' refrain. The ]over protests that his charmer shall never go bare-footed. He will buy her nice clothes. The maid reminds him that she is poor, and cannot wed. Never mind, he insists, she is true and honest, and that is better than gold. The end shows that he was sure of his case, for we hear the lass saying, ' What was that he took from his pocket ? My heart, it was a golden ring ! '