EVEN in Berkshire, in the heart of the Home
Counties, studded with the villas of London business men and riddled with motor roads, the unconquerable conservatism of country people has kept many old customs alive, and even some of the superstitions of the past linger on in attenuated forms. Mrs. Grant is an authority on Berkshire village life, and in her talk this afternoon she will tell some interesting stories of its more curious sides.
BEETHOVEN'S SONATAS for VIOLIN and PIANOFORTE
Played by ERNEST WHITFIELD and KENDAT TAYLOR
No. 8 (Third Movement), and No. 1 (First Movement)
THE Finale of the Eighth Sonata dances along fleet-footed, innocently joyous, full of the delight of graceful motion.
It is interesting to trace the musical growth of composers, and, with most of them, it is often remarked how early in life their exceptional talents become apparent. There is special interest. therefore, in noting at what a late hour Beethoven's genius attained maturity. His first three Violin Sonatas (Op. 12) seem to have been written when he was about twenty-eight years old.
They contain mostly pleasant, cheerful music, with little in them of tho forceful, compelling, mature Beethoven.
The First Movement of the First Sonata is a Quick, vigorous, run-about piece. It has two Main Tunes. The first is the jerky strutting up and down the chord of D major at the opening, with the tags which Violin, and then Piano, attach. The Second Main Tune is a sort of slow four-finger exercise, firstly introduced unobtrusively, high up on the Piano.
IN his two .preceding talks Professor Carstang doscribed and illustrated the ' speech ' and song of some of our native birds. This evening he will deal in the same fascinating manner with some of the birds that are just beginning to reappear after having spent the winter months abroad.
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