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: THE CASANO OCTET

4.15 app. The LONDON FLUTE QUARTET: ROBERT MURCHIE ; GORDON WALKER; FRANK ALMGILL ; CHARLES STAINER (Bass Flute)
ROY AGNEW is a young British composer whose works have for some years claimed serious attention. His native city is Sydney, Australia, and he first came to this country in 1923. Previous to this Moiseiwitch had popularized here some of his earlier works, such as the ' Dance of the Wild Men.' In May, 1924, he took an important part in the late Mr. Philip Wilson 's broadcast programme of Modern Australian Chamber Music, one of his first appearariees in England.
This Sonata is a particularly interesting example of his later work, for it has marked individuality. It contains bold tunes, surging rhythms, and ends with a powerful climax.
The pianist, Miss Fisher, is a New Zeaander who has lived for some time in this country.

Contributors

Unknown: Roy Agnew
Unknown: Mr. Philip Wilson

: TALES FROM THEOLD TESTAMENT

The Raising of the Widow's Child, I Kings
Ch. xvii

: CHILDREN'S SERVICE

Conducted by Canon Guy ROGERS
S.B. from Birmingham
CANON ROGERS has been Rector of Birmingham since 1925. Before that time he was for nine years Vicar and Rural Dean of West Ham, and he was a Chaplain to the Forces in 1916-16, when he won his M.C. He was joint editor of, and a contributor to, the two interesting volumes of 'Liberal Evangelical Essays,' and The Inner Life,' which attracted so much attention.
(Picture on page 105)

Contributors

Conducted By: Canon Guy Rogers

: RELIGIOUS SERVICE

Relayed from Carlisle Cathedral
S.B. from Newcastle
Hymn. ' Jesus Christ is Risen Today *
Magnificat and Nunc Dimittis in A Flat Harwood
Anthem, 'Blessed be the God and Father '
Wesley
Address by the Rt. Rev. The LORD Bishop or CARLISLE
(Picture on page 105)
Hymn, ' Jesus Lives '
Hymn, ' Ye Watchers and Ye Holy Onea'

Contributors

Unknown: Jesus Christ

: A HYMN RECITAL

Arranged and Introduced by Sir RICHARD TERRY
The WIRELESS CHOIR,
, Conducted by STANFORD ROBINSON

Contributors

Introduced By: Sir Richard Terry
Conducted By: Stanford Robinson

: THE WEEK'S GOOD CAUSE : The Rt. Hon. Lord HUGH CECIL, M.P.: Appeal on behalf of the Armenian (Lord Mayor's) Fund. ' (Picture on page 105)

NONE of the tragedies of after-the-war is more terrible than that of the Armenians, that luckless people who have for generations been the victims of Turkish persecution, and who suffered still more by relying upon the promises of protection so copiously issued by Allied statesmen during and after the war. They are a nation of refugees, living in misery in temporary camps in Syria, Greece, Bulgaria, and Turkey. The League of Nations has devised a scheme for settling on the land the 86,000 in Syria, who constitute the most pressing problem; it is to help to raise the money required for this purpose that the British Government has nominated the Lord Mayor's Fund, for which Lord Hugh Cecil will appeal tonight.
The address to which contributions should be sent is [address removed]

Contributors

Unknown: Lord Hugh Cecil

: A SAINT-SAENS PROGRAMME

THE WIRELESS ORCHESTRA, conducted by JOHN ANSELL
Overture to ' The Yellow Princess ' Caprice-Valse, Wedding Cake '
Solo Pianoforte, V. HELY HUTCHINSON
FROM the title of the second piece we may guess that it was written as a festive marriage souvenir. It is a brilliant trifle, originally composed for Piano, with accompaniment of Strings.' That rather unusual description evidently meant that the Piano was regarded as the senior partner, and it certainly leads the Strings in a bold and brilliant style.
First Concerto for Violoncello
Soloist, W. H. SQUIRE
THIS is shorter than most Concertos, the usual three Movements being condenspd into one, which, however, preserves the three sections characteristic of Concerto form. The work is its Composer's Op. 33.
The first theme, played by the solo instrument, is much used throughout the work.
In the middle section we have a charming miniature in the style of a Minuet, in which the 'Cello is accompanied by Muted Strings . This section is frequently played as a solo, apart from the rest of the Concerto.
The work was dedicated to and frequently played by M. Auguste Tolbocque , one of a distinguished family of .musicians, originally Belgian, who settled in France. ,
THE ORCHESTRA and DOROTHY D'ORSAY
(Contralto)
Selection from the Opera ' Samson and Delilah '
The Animals' Carnival
Pianofortes, V. HELY HUTCHINSON and GORDON BRYAN
THIS ' Grand Zoo. logical Fantasy was written in 1886 as a joke, for a private concert. In it; Saint - Saens gives musical portraits of fish, flesh and fowl, and indulges in ironical wit. in a little satire upon the human animal.
For some reason he insisted that the work as a. whole should not be published until after his death. One Movement escaped the ban, and became extremely popular-the charming 'Cello solo entitled The Swan.
The music is piquantly scored for Strings, two Pianos. Flute, Piccolo, Clarinet, Xylophone and Harmonica (an instrument consisting of metal plates, struck with hammers).
1. Introduction and Royal Lion's March.
An amusingly grandiose circus-entry, with very effective roars from His Majesty.
2. Hens and Cocks. Pianos and Strings, with Clarinet. The fiddle's' cock-a-doodle-doo ' is very life-like.
3. Hemioni (Swift Animals). Wild asses caper about all over the keyboards.
4. Tortoises. A well-known, lively tune from
Offenbach's Orpheus is played extremely slowly, with comical effect.
5. The Elephant. The Double Bass (or, in another version, the Tuba) treads in a lumbering fashion a measure from the Ballet of Sylphs in Berlioz' Faust.
6. Kangaroos. Agile skips on the Pianos.
7. Aquarium. An impression of the lithe darts and flashes of fish. The Piano, in arpeggios, and the Harmonica, suggest the undulating, shimmering surface of the water.
8. Long - eared Personages. Two
Violins imitate the mournful brays of donkeys.
9. The Cuckoo in the Depths of the Wood. The Clarinet gives the bird's familiar call, against a background of Piano tone.
10. The Aviary. Pianos and Flute imitate various bird-notes, while Strings, trembling, suggest the flutter of wings. The cuckoo is heard again, at the end of the Movement.
11. Pianists. These weird beings play finger-exercises, after the fashion of the child next door, from whose early fumblings we have all suffered.
12. Fossils. Bits of well-worn French tunes are scattered about. The inclusion of the dance of skeletons, from Saint-Saens's Danse Macabre, is appropriate, though in one sense those bones, whose rattling is so much enjoyed by audiences, cannot be said to be fossilized.
13. The Swan. A graceful tune for solo
'Cello, accompanied by the two Pianos. The melody's outline, on paper, is curiously like the curves of a swan.
14. Finale. A brilliant display by all hands, to wind up.
[Those who wish to read something about
Saint-Saens's life and works will find information in Saint-Saëns, by Arthur Hervey (Lane, 6s.), and Saint-Sains, His Life and Art, by Watson Lyle (Kegan Paul, 4s. 6d.). There are chapters on him in Romain Holland's Musicians of Today (Kegan Paul. 4s. 6d.), and in Daniel Gregory Mason's From Grieg to Brahms (Macmillan, 10a.). The Composer's own Outspoken Essays on Music (Kegan Paul, 4s. 6d.), and Musical Memories (Murray, 15s.) may also be had.1
Melody, ' The Bell'

Contributors

Conducted By: John Ansell
Pianoforte: V. Hely Hutchinson
Soloist: W. H. Squire
Accompanied By: Muted Strings
Played By: M. Auguste Tolbocque
Pianofortes: V. Hely Hutchinson
Pianofortes: Gordon Bryan








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