by HAROLD E. DARKE.
St. Michael's, Cornhill
A RABIA has been very prominent in the news ever since it became part of the war zone, and the interference in Arabian politics of the European Powers stirred up a hornet's nest that is still huziing rather too angrily for the comfort of the diplomats. The Yemen province, which lies behind Aden, is at the quieter end of the country, but even there there were enough thrilling experiences, nnd Lt.-Co!. Jacob, who was Chief Political Officer with the Aden Field Force during the first three years of the war, and then Adviser on S.W. Arabia to the High Commissioner in Egypt, had more than his share of them.
THIS is the fourth of this series of Talks by Professor G. Elliot Smith , the leading authority on anatomy and anthropology. In this Talk he continues his discussion of the development of muscle and the part that movement plays in the evolution of a nervous system, and, ultimately, of brain and intelligence. This subject may sound fascinating, but abstruse, but Professor Elliot Smith , unlike many other scientists of equal eminence, is gifted with the power of making the most recondite of scientific problems not only interesting, but lucid and clear.
Professor G. Elliot
The Violin Sonatas given in the original style by William PRIMROSE (with bass played on the Violoncello by AMBROSE GAUNTLETT )
MR. PRIMROSE, who has of recent years rapidly become well known, was born at Glasgow twenty-three years ago. He comes of musical stock, for his grandfather on his mother's side, and his father, were both professional ii.usicians, and the father is a well-known Viola player in Glasgow to-day. The son studied there with Camilla Ritter , and his playing attracted the attention of Sir Landon Honald , and afterwards won him a Scholarship at the Guildhall School of Music.
He worked there for four years with Mr. Max
Mossel, and then for a further three years with Ysaye.
THE works wo are to hear this week are by that great Violinist-Composer of the seventeenth century, Areangelo Corelli (1053-1713), a contemporary of our Purcell, whom, it is said, ho greatly admired. There is a tradition (it may or may not be true) that in 1695 Corelli set out to meet Purcell, got as far as Dover, heard that he had just died, and without even troubling to travel on to London, set off at once on the long return journey to Italy.
Corelli, the first of the great Violinists, may be said to have established the basis of modern Violin technique, and his style in the composition of Sonatas was adopted by Handel in his later instrumental works.
The edition of the twelve Violin Sonatas to be used this week is an old one, dating from about 1780, that has long been in Mr. Primrose's family. It differs in some respects from modern editions, so listeners who know any of these works may expect a few little surprises.
In older days the bass of many pieces was not fully written out ; a single line of melody had various figures set below its notes, which indicated to the bass player what chords to employ. This bass part could either be put into shape by a Harpsichord player or (as we shall hear it this week) by a 'Cellist.
The Sonatas are constructed on the general plan of placing slow and quick Movements in alternation. There is a good deal of diversity in the nature and mood of these, and in their length. mO-NIGHT we aro to hear the first two of the twelve Violin Sonatas that Mr. Primrose is playing this week.
The FIRST, in the key of D, has five Movements, with a few bars of slow music connecting the Second and Third. (It should bo noted that the First Movement itself consists of very brief slow and quick portions in alternation).
The SECOND SONATA, in B Flat, has a slow First
Movement, followed by a brisk Fugue, and then by a still livelier-running dance-like piece, in which the Violinist, beginning with two notes to a beat, works up the excitement by breaking into three-notes-to-the-beat, accompanying the bass player for a little, before going back to his former stylo. With alternations of these rhythms the piece goes on its brief, bright way.
A very short slow section and a leaping Finale conclude the Sonata.
ELSIE CARLISLE (and BOBBY ALDERSON at the Piano)
A Golfing Sketch by MAUDIE FIELD.
DESMOXD ROBERTS , TONY Williams and CHARLES HESLOP
EDNA THOMAS (Negro Spirituals)
ANYONE who has heard Miss Edna Thomas sing plantation melodies and Negro Spirituals will agree that she possesses, to a unique degree, the power of making her performance sound like the real thing. Where other artists may give a clever and competent rendering of such naive and touching songs as, for instance, ' All God's Chillun Got Shoes,' Miss Thomas sings it as one can imagine it being sung in all sincerity by soft-voiced Negroes on some old-fashioned plantation down in Virginia or Tennessee. This may be because she does, in fact, come from the Southern States of America and learnt her songs from hearing the darkies sing them on her own family's estates. At any rate, her singing of these beautiful songs will form a treat that no listener should miss.
in Items from their Repertoire and A Musical News Bulletin.
It will be remembered that last autumn, as an innovation in the programmes, "Mr. Flotsam and Mr. Jetsam" gave a musical resume of the news of the preceding day. This new feature was so successful that it is to he repeated, and they will give their humorous news, as well as some of their other songs, every evening this week.
(Born Feb. 7, 1812)
ERNEST WELLBELOVED in Impressions of Characters from Dickens' Novels
directed by SIDNEY FIRMAN
A sort of Opera in Two Acts by A. P. Herbert
Music by Geoffrey Toye, played by The Wireless Orchestra, conducted by the Composer
Poets, Writers, Soldiers, Policeman, Pressmen, Loafers, Orators and Newsboys.
Location: Hyde Park (Act I) Ministry office of Poets & Writers (Act II)
ACT I. Scene : Part of Hyde Park
Hyde Park is a large and beautiful place, but unfortunately the parts of it where the events of this act would naturally occur are not the most beautiful parts. Truth, therefore, has been waived in the interests of beauty, and the scene is laid in some pleasant spot towards the south side with plenty of trees, and a grassy bank in the background. There is a park seat to the left, and to the right is a large tub, draped with scarlet.
ACT II. Scene : A room in the Ministry of Verse.
Six months later.
A large room, of stately proportions, a Government Office room, but richly furnished, as if it were a room in Buckingham Palace. At either end of the back-wall there are doors (or curtained archways) leading into a corridor; between the doors there is a long table; in the near-end of the right-hand wall there is a door (or arch) into Sir Robert's own room; beyond that door there is another table. In the middle of the left-hand wall there is a sort of throne at the top of a few circular steps where Sir Robert sits to preside over singing contests, etc. There is another door (or archway) on this side of the throne. The room is furnished with the usual paraphernalia of a Government Office, but in a rich and rather Utopian style, e.g. the telephone instruments appear to he made of pure gold, and the tables and chairs suggest Versailles more than Whitehall. In the middle of the back wall there is a large clock, which stands at 3.55. Busts of Shakespeare, Keats, Shelley and other famous poets are placed at intervals about the room.
(A Libretto of this Opera is published by, and is obtainable from, the B.B.C. For full details see the announcement on page 286 of this issue.)
Sir Robert Quint, M.P. (A Cabinet Minister):
The Hon Michael Gray (A Private Secretary):
Mary Jano Blake (An Assistant Private Secretary):
Henry Wordsworth (A General Secretary):
Daffodil Smith (An Assistant General Secretary):
Samuel Slate (A Pressman):
Captain Danby (A Military Officer):