By EDGAR T. COOK
MILLICENT RUSSELL (Contralto)
Relayed from Southwark Cathedral.
THE DAVENTRY QUARTET and DUNSTAN HART (Baritone)
Tens of thousands of British dead lie buried on the Gallipoli peninsula - the only tangible result of the most disastrous venture of the whole war. Last year Miss Fielden went on a Pilgrimage to the graves there, and this afternoon — Anzac Day—she will describe what she saw.
Piano Solos by Cecil Dixon. Songs by John Dale. 'The Ugly Duckling,' told by Harcourt Williams. Batting Hints,' by the Rev. F. H. Gillingham, of the Essex County Cricket Club
A Song, a Story, and a Piano
Just Four Fellers
Elsie and Doris Waters
Stanislas NIEDZIELSKI (Pianoforte)
THE WIRELESS SYMPHONY ORCHESTRA
Leader, S. KNEALE KELLEY
Conducted by PERCY PITT
FRANCOIS COUPERIN , that great eighteenth-century Composer of Harpsichord music, was one of a dynasty of five generations of notable musicians. Couperin himself wrote music in memory of his great contemporary Corelli, and another distinguished Frenchman of a later generation, Ravel, in turn paid his tribute to Couperin by writing a Suite of pieces.
The Suite was first written, ten years ago, for Piano, and a little later four of its six pieces were orchestrated (for Strings, Woodwind, two Horns, a Trumpet and a Harp).
These are a Prelude. Forlana, Minuet and Rigaudon. The Minuet is a familiar form to all listeners. The Forlana, originally an Italian dance, a favourite of the gondoliers of Venice, has here a quiet spirit in a lilting body. The Rigaudon (a Provençal dance with a peculiar leaping step) has a cheerful swing.
Arranged by Mr. E. Le Breton Martin
Last February Mr. E. Le Breton Martin arranged a talk in the Worcester dialect, in which for the first time a genuine dialect speaker came to the London microphone.
Tonight's demonstration of the Dorset dialect-beloved of all readers of Hardy - will follow the same lines as its predecessor. Mr. Le Breton Martin will give a short talk on the county, and the Dorsetshire man who has been specially chosen for the purpose by the Dorset County Association will repeat the substance of it in his own dialect - both idiom and accent. Like the first of the series, this should be a most interesting occasion for all listeners who may not have realized how much variety still resides in the English tongue, and how racy and expressive local dialects can be.
Mr. E. Le Breton
Soloist, STANISLAS NIEDZIELSKI
A CENTURY has nearly gone by since Chopin earned for Poland a distinctive place in the world of music. Now there is a promising group of Composers known as ' Young Musical Poland,' the member so far best known to us in this country being Szymanowski.
Ludomir Rozycki is another important figure in the group. He was born in Warsaw forty-three years ago, and studied at the Warsaw Conservatoire, as well as in Berlin under Humperdinek.
His works include several Operas—Boleslas the Bold, dealing with early Polish history; Medusa, which is based on a tale from the life of Leonardo da Vinci ; Casanova ; and Eros and Psyche. The most reoent is Beatrice Cenci , partly founded on Shelley's tragedy.
He has written also symphonic Poems,
Chamber Music and songs, besides the Concerto we are to hear.
This, a work of romantic tendency, not aggressively ' modern,' is in three Movements —the FIRST by turns brilliantly forceful and lyrical, the SECOND a song-like quiet Slow Movement, and the THIRD a bold Movement starting in dance-like style and broadening out, the Piano maintaining a full flow of tone almost the whole time.
GLAZOUNOV was born in Petrograd (where ho still lives) sixty-two years ago. This Symphony, in E Flat, is the fourth of eight that ho has composed, and his forty-eighth work (of about eighty altogether). It is in three movements.
FIRST MOVEMENT. A rather dow, plaintive Introduction, leading into a quick Movement, in which the tune heard at the opening of the Introduction is made use of. SECOND MOVEMENT. A Scherzo, a rapid lively Movement.
THIRD MOVEMENT. Another rather slow Introduction leading into a quick Movement. Hero again, the First Main Tune of the slow portion (it comes on the Clarinet) is employed in the quick Movement proper. In the course of his development of the many ideas he uses, the Composer introduces a reminiscence of the Symphony's opening melody.