Relayed from the Queen's Hall
THE HALLÉ ORCHESTRA
Conducted by Sir HAMILTON HARTY
LEOPOLD GODOWSKY (Pianoforte)
THERE are two Movements in Bach's Concerto with no break between ; they are connected by two sustained chords. Both Movements nre quick. The second is rather like a jig, in the familiar rhythm of two-in-a-bar, each beat being divided into three bits.
BERLIOZ in this work follows the moods of an imaginary love-sick youth, whose constant thought is his beloved maiden. She is represented by a melody which appears in various forms during the course of the work. This (fairly long) theme first occurs near the beginning of the First Movement, which is entitled Visions and Passions. The titles of the other four Movements are respectively, A Ball, Scenes in the Country, March to the Scaffold (here, says the composer, the youth dreams he has murdered the woman he loves, that he is under sentence of death, and is being led to execution '), and finally Dream of a Witches' Sabbath.
THERE are in this Concerto (it is Beethoven's
Op. 58, in the key of G) several points of treatment that were new and striking when the work was produced.
. FIRST MOVEMENT. The first new thing is that instead of beginning with the usual burst of Full Orchestra (a plan ho had followed in his three earlier Concertos), Beethoven lets the Soloists announce the First Main Tune. Besides this, there are several other leading tunes, the Second Main one being given to Violins (a minor key melody in ' arpeggio' steps), and two or three others being brought in. The SECOND MOVEMENT provides another of the work's points of rarity and interest. It is very short, and consists of a lovely dialogue between Orchestra' and Pianoforte, the former stating an emphatic, almost imperious Tune, and ' the latter replying in smooth, quiet, thoughtful passages, as if sweetly reasoning with the other's impatience.
THIRD MOVEMENT. This is a sprightly Rondo, clearly and cleanly built.
SH. BRAITHWAITE is a . native of Cumberland
(bom 1883), and an ex-student of the Royal Academy, London. He gives no basis for his Snow Picture other than the title. The Piano, the bell like Glockenspiel and various other Percussion instruments have a good deal to do with the ' atmospherics ' of the piece.
STANFORD stated that the Rhapsody was inspired by ' an episode in the legend of the Finns and the loves of Cuchullin the Emer.' which will convey clear ideas to any Irishman versed in the legendary lore of his land.
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