VIVIENNE CHATTERTON (Soprano)
JOHN THORNE (Baritone)
CYRIL TOWBIN (Violin)
The WIRELESS MILITARY BAND
Conducted by Lieut. B. WALTON O'DONNELL
IN 1880 the University of Breslau made
Brahms a Doctor of Philosophy, and this was, as it were, his thesis or graduation piece. The title may sound rather solemn, but the Overture is one of the gayest pieces of music Brahms wrote. It was originally scored for Full Orchestra. with plenty of percussion:- Kettle Drums, Big Drums, Cymbals, and Triangle. Today we hear it in an arrangement for Military Band.
The chief themes are all well-known German students' songs. Some of them are familiar also to us in England.
There are four such popular tunes in the Overture. It starts with ah original theme. followed by another Tune (also Brahms' own) and a return of the first melody. This is worked up a little, and then a few bars of soft music introduce the First Main Tune, rather like a hymn tune, played by Trumpets. This is known as The Stately House.
The next Tune is a livelier one - The Father of his Country.
The Third Tune is the Fresh-man's Song (dating from the early eighteenth century) which is humorously blurted out. The brass-and-reed chorus takes it up, the instruments joining in in turn, as a scattered company of students coming home from a jollification might do.
The last Tune to be used is
Gaudeamus igitur; known to University students the world over. It bowls along, trolled out by the full Band. bringing the Overture to a high-spirited close.
Two Numbers from 'The Rose
Entrance of the Rose Bearer and Duet; Oehs' Waltz
THE LOSE CAVALIER (described as ' A Comedy for Music') is, as most people consider, the most likeable of all Strauss's works. It is full of gorgeous waltzes (one of which we are now to hear), and other attractive melodies.
The title refers to the old custom of a suitor's employing an envoy to carry a silver rose to his betrothed as an emblem of his love.
THE Opera, Prince Igor, glitters with oriental colour and military splendour. It is a story drawn from Russian history, of the struggles of a Russian Prince with a wandering tribe of eastern raiders, and of the loves of the Prince and his son.
The Dances now to be heard occur in the Second Act, when Igor, a prisoner in the camp cf a nomad tribe, the 'Polovtsy,' is, as a tribute to his courage, invited to be present at a Festival.
Incidental Music from ' Sigurd Jorsalfar ' Grieg
EIGHT days were allowed to Grieg to write the incidental music to the play, Sigurd Jorsalfar, or Sigurd the Crusader. The music was an immense success, in spite of the fact that it was so execrably performed that Grieg suffered tortures, and when one of the chief actors began to sing, cowered down in his seat until Bjornson, author of the play, poked him in the ribs and said 'Sit up properly ! '
However, the audience applauded heartily, and so all was well.
There are three pieces in the Suite made from this incidental music.
I Introduction. We are in the Court of King Sigurd and King Eystein, sons of Harald, both of whom reigned in Norway at the same time, and were rivals. Here we have the atmosphere of royalty and festivity.
II Intermezzo, Borghild's Dream. Borghild and Eystein were lovers. In order to show she is innocent of a wicked accusation, she has been compelled to undergo the ordeal by fire-to walk over red-hot iron. She does so without taking any hurt. Later, she fears her lover is not true to her, and upon Sigurd's pleading, marries him, so ruining both her happiness and that of Eystein, who had remained faithful. In this scene she sleeps uneasily, and is tortured by doubt. Awaking, she cries ' Still am I walking over red-hot iron,' and the music depicts her agitation.
Ill Triumphal March. Sigurd, repentant, dedicates himself to the welfare of Norway. In this scene the two kings are approaching, hand in hand. the place of law-giving, amid the loyal shouts of their people.
(Picture on page 153)
THIS is a humorous musical illustration
(originally Orchestral) of a ballad by Goethe, about a magician's 'prentice-boy, who, while his master is away, copies his signs and spells, and raises spooks, but can't lay them. He makes them work for him-fetch buckets of water and swish them around, and sweep away vigorously.
Then ho forgets the spell ; the spirits cannot be stopped, and the house is getting flooded. In the nick of time the sorcerer himself returns and with a solemn incantation removes the spell.
4.57 VlVIENNE CHATTERTON
Four Old World Dance Songs Montague Phillips
Excerpts from the Fifth Symphony
Second Movement ; Third Movement- Valse
THE Fifth Symphony is so often performed that its outlines are becoming very familiar. It will suffice to remind listeners that a ' motto ' theme, of sombre character in most of its appearances, is heard in each of the Movements.
We are to hear the Second and Third Movements in an arrangement for Military Band. The SECOND MOVEMENT is mostly quiet and plaintive. It has three clearly-defined themes. The 'motto ' intrudes once, giving way to a review of these main tunes, and the Movement ends peacefully.
The THIRD MOVEMENT is one of Tchaikovsky's many charming Valses. The motto ' casts : a momentary gloom on the gaiety, nearthoend.....