THE WIRELESS MILITARY BAND,
. Conducted by Lieut. B. WALTON O'DONNELL ,
M.V.O., F.R.A.M., R.M.
WALTER GLYNNE (Tenor), BESSIE KERR (Soprano)
MABEL CONSTANDUROS in Selections from her Repertoire
Lieut. B. Walton
A WISE man once said that of the making of books there is no end. If that was true in Solomon's day, how much more is it true in these latter days, when the bookstalls groan under the weight of new books and magazines of all kinds ? It is to help us to discover the best things in the flood of weeklies and monthlies and quarterlies that Mr. J. W. Robertson Scott , himself a famous veteran journalist, comes to the microphone and rapidly surveys some of the leading periodicals that have issued from the press during the past month.
Mr. J. W. Robertson
Some of his Jolliest Keyboard Music
Interpreted by JAMES CHING
Sixth French Suite
BACH'S Suites are much like his Partitas in general style. The' French ' Suites (the name was not given to them by the Composer) are written in the light style that the French then favoured in their music ; the dances are all short, and in general slighter than those in the Partitas and ' English ' Suites.
The Sixth French Suite has eight Movements, as follows :—
ALLEMANDE. (Moderately quick.) The right and left hand open with a semiquaver tune and a quaver tuno respectively, and out of these two the piece develops—in two voices throughout.
COURANTE. The Italian type of Courante— continuously ' running ' throughout.
SARABANDE. (Fairly slow and sustained.) The two very expressive Jittle motifs given out by right hand (bar 1) and left hand (bar 2), briefly developed, make up the whole thing.
GAVOTTE. (Pretty lively.) Gay, but eourtly.
In three voices throughout.
POLONAISE. (Fairly quick and graceful.) Two voices only-the upper one with a tune and the lower one with a steady accompaniment.
. BOURRÉE (Lively.) A simple dance in two voices.
Menuet. (At a moderate speed.) Light and innocent-minded, and quite short.
GIGUE. (Very quick.) The downward arpeggio motif, which supplies material for the first part, becomes an upward arpeggio motif in the second part.
7.45 London, Daventry
A Musical Comedy in Two Acts by James Montgomery.
Music by Harry Tierney.
Lyrics by Joseph McCarthy.
Characters (in the order of their appearance): Mrs. Marsha ..... ANNIE ESMOND Eleanor Worth ........ VIVIEN LAMBELET Donald Marshall .......... EVAN THOMAS Clarkson CYRIL SMITH Robert Harrison ........ DONALD MATHER Irene O'Dare ..... VIVIENNE CHATTERTON Lawrence Hadtey .....CYRIL NASH Mrs. O'Dare .....EILEEN MUNRO Helen Cheston .....JEAN ALLISTONE Jane Gilmour ........ FLORENCE BAYFIELD J. P. Beaudon ........ PETER GAWTHORXE Madame Lucy ............ MARK LESTER Mrs. Cheston.....FLORENCE Wood
THE WIRELESS CHORUS and WIRELESS ORCHESTRA, under the direction of JOHN ANSELL
Scene 1: Donald Marshall's Home
Scene 2: The O'Dares" Home
Scene 3: Donald Marshall's Home - Two Days Later
Scene 1: The O'Dares' Home - Two Months Later
Scene 2: The Garden of Beaudon's Home
Scene 3: The O'Dares' Home - After Midnight
Scene 4: Same as Scene 2
A REGULAR contributor to such periodicals as London Opinion and The Passing Show,
Mr. A. A. Thomson is also the author of that amusing book, ' Bumble Dinky.'
Mr. A. A.
The Famous Scottish Comedian
In His Character Sketches and - THE LONDON RADIO DANCE BAND, directed by SIDNEY FIRMAN
10.0 FLORENCE HOLDING (Soprano). JOSEPH SLATER (Flute)
PURCELL'S song comes from a play by Shadwell, The Libertine, one of many for which he wrote incidental music. The words are a jolly invitation to lads and lassos to come away to sport and play, 'for this is Flora's holiday.'
FREDERICK KEEL is a well-known arranger of old songs and Composer of new ones, many of which have something of the spirit of the Elizabethan ago. fPHE last song was, in its original form, a duet for two Sopranos. Its gay invitation runs :â
Sweet nymph, come to thy lover.
Lo, hero alone our loves we may discover,
Where the sweet nightingale with wanton gloses, Hark, her love too discloses.
THE Flute was held in greater respect during Handel's days than it is now, when it seldom emerges from the Orchestra except for the playing of show-pieces or bird-music. Some of the most refined and dignified Concerted works of the eighteenth century were composed for groups of players in which the Flautist was a partner, and Sonatas were also written for the instrument. 'Sonata' in those days had not the meaning it took on later, when Haydn built up the form into a homogeneous whole. In Handel's time alternating slow and quick Movements, one or more of them in dance rhythms, made up the Sonata.
Quantz was a celebrated Flute player of the eighteenth century who began as an Oboeist-He taught Frederick the Great to play the flute, and the Emperor made him Court Composer.