THIS is another of the series of talks in which
Mr. Lloyd James -who was Secretary to the Committee of experts who recently decided, for the B.B.C., on the pronunciation of certain doubtful words-tackles a few of the many Problems inherent in our charming but inconsequent mother-tongue.
TANE AUSTEN (1775-1817) has the peculiar distinction of being a novelist whose works have never gone out of fashion, although they ' date ' prodigiously. The verbal elegances and social punctilios of her young lad es and gentlemen seem centuries farther from us than tho full-blooded exuberance of Fielding, sixty years before, or the convincing realism of Defoe, fifty years before that. Yet she remains popular, and listeners this afternoon who do not know her writings may find it interesting to see if they can find out why. ' Emma,' by the way, was the last novel published before her death.
IN this afternoon's talk Mrs. MacIver leaves the more strictly economic questions and turns to education as the basis of good citizenship. She will indicate the scope and purpose of education, compare the opportunities afforded by the State with those provided by private agencies, and show what facilities there are for carrying on education beyond the school age. She will also touch on a subject of only too urgent importance at the present time-the connection between the problems of education and of unemployment.
Played by LAMOND
The 'Waldstein Sonata ' First Movement
COUNT WALDSTEIN, to whom this work was dedicated, -was an early and warmiriend of Beethoven.
The Sonata, written when the Composer was thirty-four, is a work of grandeur, but in spite pf the big scale on which it is laid out, it is actually in only two separate Movements. But though the middle piece leads without break into the Finale, and is, in fact, definitely entitled Introduction,' it is really a significant entity.
The FIRST MOVEMENT is tumultuous music.
Chiefly it consists of rapid repeated chords, abrupt, curt little phrases, and surging waves of ' sound. With these is contrasted a simple, tranquil melody.
QTAMFORD RAFFLES (1781-1826), the fourth of the half-dozen ' Empire-Builders ' of whom Principal Grant Robertson will talk, was one of the first of a distinguished line of British administrators who have gone out to the East not merely as rulers, but as enthusiastic students of the countries over which they ruled. Raffles is justly famed as the man who secured Singapore for England, but in addition, he was an expert on the history and philology of the East Indies, the author of a valuable ' History of Sava,' and the founder and first President of the Zoological Society.
PAUL ENGLAND and his Revellers
AUDREY KNIGHT (Comedienne)
CLAUDE GARDNER (Boxing Comedian)
ELLIS BURFORD and Dobis COLSTON in Seme Old
Hon. Bertrand A.W.
post that mentions
' In Beethoven's masterpieces music stands upright and looks the whole Scheme of Things in the face.'-Dr. Ernest Walker.
THE CATTERALL STRING QUARTET
ARTHUR CATTERALL (1st Violin); LEONARD HIRSCH (2nd Violin) ; FRANK S. PARK (Viola) ; JOHAN C. HOCK (Violoncello)
Second String Quartet
BEETHOVEN wrote this Quartet in G (the second of the set of six making up his Op. 18) when he was about thirty. It has a buoyant, light-hearted spiritâthat of a young man stepping out boldly and happily into maturity.
There are the usual four Movements - a sunny, quick First Movement ; a Slow Movement that is oddly broken in upon by a jolly chattering quick section, after which the quiet mood returns ; then the usual sportive Scherzo (one of the gayest Beethoven ever wrote) ; and lastly. a simply written bright Movement that rattles along with the greatest good humour.
An illuminating little book for those who have some small knowledge of music is Sir Henry Hadow 's Beethoven's Op. 18 Quartets, in ' The Musical Pilgrim ' Series (Oxford University Press, 1/0).
Three Songs, poems by Geethe :
Wonne der Wehmuth (Bliss of Sadness) S. hnsucht (Longing)
Mit einem gemalten Band (With a Painted
THE first Goethe song. a very short one, is a plea that to the mourner and to those unhappy in love tears may yet lemain, as the only relief and happiness.
Longing expresses the desire to be near a loved one. In imagination the lover flies with the birds, and sings a song to her. She hears, and knows the song is for her. Then his mental image changes, and he becomes a star, at which the beloved looks, wondering and admiring. With such imaginings the lover delights himself.
The last Goethe song is an appeal to the zephyr to waft a ribbon to the maiden, on whose charms the lover rhapsodi/es. Her smile repays all his love, and he delights in the thought that theirs is a love far stronger than any bond they can exchange.
Alla Danza Tedesco ('In the style of German Dance'), from Quartet in B Flat, Op.130
Six Sacred Songs, poems by Gellert :
Die Liebe des Nachsten (The Love of Our
Vom Tode (Of Death)
Die Ehre Gottes aus der Natur (The Praise of God in Nature)
Gottes Maeht und Vorsehung (Go Power and Providence)
Busslied (Song of Penitence)
PRAYER op?ns with fervent praise of God's
* goodness and mercy, and begs His grace for the suppliant's prayers.
Love of Our Neighbour is a poetic version of the commandment ' Thou shalt love thy neighbour as thvself.' He who says ' I love God * and hates his neighbour is no son of God.
Of Death is an injunction to man to give heed to the solemnizing thoughts of that end to which all must come.
The Praise of God in Nature tells how ' the Heavens declare the Lord's infinite glory . . . and the earth and sea sound His name . . . · Hear, 0 man, what they tell! He created the stars, and calls from his tent the Sun, coming in brightness from afar, and moving upon his course like a hero.'
God's Power and Providence are exultantly hymned in the next song, a very brief one.
The Song of Penitence is a heartfelt cry for pity upon the sinner who has offended against God's law. Then comes « mood of comfort, as the penitent, remembering God's promises of nieroy, feels his heart lighten, and beli ves that he may yet redeem himself and win again God's favour.
Tenth String Quartet
THIS virile work, which belongs to Beethoven's middle period (it is his Op. 74), is nicknamed the ' Harp' Quartet because the first Movement happens to contain some passages rather suggestive of Harp effects. There are the usual four Movements.
FIRST MOVEMENT. A slow Introduction, all the instruments playing in an undertone, soon leads into the quick body of the Movement. The Harp ' passage may be thus identified-soon after the quick portion is launched, the Violins play fairly high, repeated chords, whilst .Viola and 'Cello play a plucked-string tune. Then they change round, Violins taking the tune, Viola and 'Cello the chords. Later, this idea is greatly developed.
SECOND MOVEMENT. Here we have a free,
-varied treatment of a song-like melody, smooth and rather serious.
THIRD MOVEMENT. Two sections, alternated, make up this Movement. The first of these is made out of a little four-note figure of one note three times repeated, and followed by a lower note. The second section starts with 'Cello running up and down the scale, the Viola soon adding, over it, a harp-like phrase of longer notes.
The sections stand in this order-first, second, first, second, first, Coda.
FOURTH MOVEMENT. An Air with six Variations, the last somewhat extended.