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Conducted by JOHN ANSELL
Overture to ' L'Isola Disabitata ' (' The Desert
Island ').
THE DESERT ISLAND was a little Opera .that
Haydn wrote to celebrate the name-day of his patron, Prince Esterhazy, in 1779. The story he used (by Metastasio) had already been set by three other composers at various times, and it was used again about twenty years later by Spontini.
The Overture begins with a slow introduction, as was customary, and goes on to a lively movement; in the middle of this comes a more gently-moving section, that probably suggests one of the scenes in the Opera when 'wo women arc left on the desert island.
Piercing Eyes
She Never Told her Love
Shepherd's Song


Unknown: Kneale Kelley
Conducted By: John Ansell


The ' london ' Symphony
HAYDN was a great favourite in London.
He came over, on the invitation of Salomon, a concert director, on two occasions, and each time contracted to compose and conduct six symphonies. That, perhaps, seems rather a large order, but Haydn worked so quickly and was so prolific that he had no difficulty in carrying out the agreement, and enjoying himself at the same time, attending Lord Mayor's Banquets, singing his songs to the Prince of Wales, paying country-house visits and so on. This ' London' Symphony is one of his second ' Salomon Set.' In style and force it looks forward to Beethoven.
The FIRST MOVEMENT opens with a slow Introduction, which, very effectively, is hi the minor key, the quick main body of the Movement being in the major. Its First Main Tune is a natty, lively one, which Haydn apparently liked so well that he used it as the Second Main Tune also-quite an unusual thing to do. There is a brief new tune, but it can scarcely be called a main one.
The SECOND MOVEMENT, the slow one, is an Air with two Variations.
The usual MINUET follows—a typical Haydn dance Movement.
The FINALE is quick and spirited. In its opening drone bass, like the tune of a shepherd's pipe, it recalls Haydn's love of peasant music.


Reading the description of the Chariot Race from
'Ben Hur ,' by Wallace
SUCH is the power of the film nowadays that to most people' Ben Hur ' is now known primarily as a movie story. But a generation before
Hollywood began to build amphitheatre sets in readiness for the film, Lew Wallace 's book was known in countless British homes, and it is from the book that Miss Freshwater will read this afternoon.


Unknown: Ben Hur
Unknown: Ben Hur
Unknown: Lew Wallace


' Overture to ' Mavra '
TGOR STRAVINSKY was bom in 1882, the son of an Opera singer. He was educated for the law, but soon turned to music, and studied with Rimsky-Korsakov. From his first compositions, which were fairly conventional, he passed to a more pungent period of violent rhythms, strange harmonies and novel orchestration. Of late years his style has again altered and developed. One of his recent works is the little one-act Opera Mavra, based on a story of Pushkin, about a soldier who, in order to be near the girl of his heart, disguises himself as a servant. This work was produced some five years ago by the Russian Ballet.
Suite for Small Orchestra
Concerto for Pianoforte with Accompaniment of Wind Instruments
(First Performance in England)
Soloist :
(Orchestra conducted by EDWARD CLARK )
THE Concerto, written in 1924, is scored for
Piccolo, two Flutes, two Clarinets, Cor Anglais , two Bassoons, Double Bassoon, four Horns, four Trumpets, three Trombones, Bass
Tuba, four Kettledrums; and several Double Basses, these being the only Strings employed.
There are three Movements. The FIRST has a slow Introduction, opening with a theme which will be found as a motif running through the work, though sometimes it is very greatly varied in .form. The Quick body of the Movement, for instance, begins with a variant of it. After the various ideas in the Movement have been dealt with, and the speed worked up, there is a brief return of the introductory matter, in altered form, before the Movement ends.
MENT (Slow), after the first theme has been stated, there is a cadenza, opening a second section. After this has been heard and an interlude has passed, the cadenza, condensed, returns, and a very brief recollection of the Movement's opening theme ends this short part of the Concerto.
The brilliant THIRD Move
MENT starts in fugal style. Before long we hear the motif that opened the work, and immediately afterwards another theme, decisive and bold, that is clearly derived from it. This and the fugal theme are worked up ; then there is a brief form of ' recapitulation ' of ideas, followed by the re-presentation of the slow Introduction of the whole work. On the last page the music resumes its brilliant stylo and dashes home in a very few bars.
The Composer has said of the work that it is 'a sort of passacaglia or toccata. It is quite in the style of the seventeenth century viewed from the point of view of today.' As regards Stravinsky's outlook in general, it is worth noting, especially by those who have heard other music of the Composer, that he has declared (in an interview in 1925) that he is 'an altogether different composer' from the Stravinsky of The Rite of Spring. ' I am not modern,' he said. ' I have gone back in the centuries, and have begun over again, on a historic foundation. What I write today has its roots in tho stylo and methods of Palestrina and Bach. Today, I am not to be taken as a harmonist ; I have become, through and through, a contrapuntist..... My melodies take two, three, four or more independent lines. Of course, they have unity, notwithstanding their diversity. But my point is that it is a unity characteristic of the ancient counterpoint, rather than of the modern harmony.'
Suite from ' The Fire Bird'
Re-orchestrated by the Composer in 1919


Unknown: Kneale Kelley
Conducted By: Edward Clark
Clarinets: Cor Anglais


Conducted by the Rev. C. H. RITCHIE. Rector of St. JOHN'S Episcopal CHURCH, Edinburgh
Address bv the Rev. CANON A. E. LAURIE , D.D. Relayed from St. JOHN'S EPISCOPAL CHURCH,
S.B. from Edinburgh


Unknown: Rev. C. H. Ritchie.
Unknown: Rev. Canon A. E. Laurie


Sentences inviting to worship, and brief Collect
Hymn. ' Lead, Kindly Light' (Tune : ' Lux
Benigna ')
Collects and Extempore Prayer of Intercession The Magnificat
Lesson : Isaiah iv, 1-5, First Epistle of John, chap. i
Hymn. ' Lord of all being' (Tune : Arizona )
Address by Principal W. B. SELBIE , Mansfield
College, Oxford
Brief Prayer
Hymn, '0 Blessed Life' (Tune : ' Sarby ') Benediction
BESIDE being
Principal of Mansfield College, Oxford— a position that he has occupied since 1909— the Rev. W. B. Selbie is a former Chairman of the Congregational Union and President of the National Free Church Council. He is the author of several books, including 'The
Psychology of Religion,' and "Belief and Life.'


Unknown: W. B. Selbie
Unknown: Rev. W. B. Selbie

: THE WEEK'S GOOD CAUSE : Hospital Sunday Fund. Appeal by Mr. R. HOLLAND MARTIN, Treasurer of the Fund.

HOSPITAL SUNDAY is not one of the flag-days or money-getting festivals that sprang up in such profusion during the war. It has been going on for over fifty years, and it now provides ten per cent, of the incomes of more than 250 hospitals and similar institutions. It is worth noting that this money is used solely for the treatment of patients-including the supply of surgical appliances to the number of over 9,000 a year-and not in any circumstances for building. As there are every day 10,000 patients actually occupying beds in London hospitals, and 20,000 out-patients receiving treatment, it is obvious that the work that the Fund has to do is on a colossal scale.
The address to which contributions should be sent is [address removed]




Soprano: Cedric Sharpe
Unknown: Stanford Robinson

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