: Folk Songs by Helen Henschel. The Story of 'The Pirate' (Christine Chaundler). ' Pictures —how to look at them and what they should mean
MISS HELEN HENSCHEL is one of the people who sing folk-songs really well. She is known to all regular listeners and is always popular in the Children's Hour. (One shrewdly siispect3 that much of the charm of her ' interpretation ' is inherited from her father. Sir George Henschel , who is an eminent musician.)
During the past two years several attempts have been made to include in the Children's Hour programmes simple. pleasant chats on pictures-how to look at them and understand them. famous paintings that one ought to know nbout. and so on. So far there have been difficulties of various sorts, but to-day it is hoped that a start will be made to carry out this long -cherished plan — even though, at the moment of going to Press, the details are not complete.
Sir HENRY J. WOOD and his SYMPHONY
ALICE MOXON (Soprano); HEDDLE NASH (Tenor)
Solo Violin, ELISE STEELE
Solo Horn, AUBREY BRAIN
Relayed from the QUEEN'S HALL, London
NOT many composers score a hundred
Symphonies, even in a lifetime. Haydn achieved this feat, but of course those were the . early days of the Symphony, and, compared with a modern Symphony, those of the eighteenth century are simple little trifles.
Still, however simple and unpretentious,
Haydn's Symphonies are delightfully fresh and tuneful, as we may well judge from his Symphony in E Flat. now to be played.
MOZART was always at his friends' service : if they wanted something to play on a special occasion, whether it were for Flute. Horn. Bassoon, or any other instrument, he could and would throw off a piece for them. One of his friends was the French Horn player Leutgeb, for whom he wrote quite a number of pieces, usually putting some bantering remarks on the music paper. One. for instance, is inscribed ' Wolfgang Amado Mozart takes pity on Leutgeb. ass, ox and simpleton, at Vienna, March 27, 1783.'
In each of these works for Horn Mozart reminds us that the instrument was once used in the chase, by writing passages such as we are accustomed to hear from the curly hunting-horn.
The Fourth Concerto for the instrument (it is numbered K. 495) contains the usual three Movements, a brisk, ingenious First Movement, an enchantingly melodious Romance, and an in-spiriting Rondo, in which the soloist can show off his paces finely.
Mr. Aubrey Brain is already known to a great many listeners as one of the finest living players of the Horn. if not the very greatest.
MOZART in his youth wrote much fiddle music. some of it, including this Concerto, for his own performance. He was only nineteen when he wrote this one, but it was his fourth. (Its identification number in the list of his works is K. 218. It is in the key of D.).
The Concerto is lightly scored for two Oboes, two Horns and Strings (no Trumpets and no Drums), and it is in the usual three Movements.
TEN days could hardly be called an unduly
-L long time to take over writing a Symphony ; yet Mozart took no longer over this G Minor Symphony, one of the last he wrote, and generally considered among the very finest and most original of all his orchestral works. Its identifying number is K. 550.
Of its four Movements the FIRST is quick and bustling-full of restless energy and dramatic fire, with an undercurrent of anxiety and mystery running through it.
THE SECOND MOVEMENT comes as a beautiful, restful relief after the agitation of the First.
THE THIRD MOVEMENT is a cheerful, rather ceremonious Minuet.
THE Fourth MOVEMENT is the sweeping, rushing Finale,' whose speed never slackens, though there are moments of tranquillity.
Sir Henry J.