WHEN the average Englishman thinks of going abroad for his summer holidays, his thoughts turn to Brittany first. It is so near, so accessible, so picturesque, and most of his friends have been there and enjoyed it at one time or another —for Brittany was the first place to be discovered by the English, and it remains one of the most popular. That does not by any means imply that it has been spoilt, for its little towns and villages are still full of colour and charm. Miss Maxse, who gives the talk this afternoon, is an experienced traveller in many parts of the world, and she has covered the greater part of Brittany in her wanderings, so she will be able to tell intending visitors both what to see and how to see it in order to enjoy it most.
(Picture on page 306.)
FOR the ordinary person who does not read the more œsthetic reviews, it is not easy to keep in touch with the best work that is being done by modern poets, particularly by those of less-established reputation. The ' occasional reviews of new poetry,' of which this is the first, are designed to meet this need. Mr. Edward Shanks , who will give them, is himself one of the most prominent of post-war poets; he won the Hawthomden Prize in 1919, was for some years assistant editor of The London Mercury, and published his ' Collected Poems' two years ago. since when he has issued three more books' The Beggar's Ride,' ' Second Essays on Literature,' and ' The Use of Poetry.'
AN interesting report was recently issued. by an inter-departmental sub-committee set up by the Ministry of Agriculture and the Board of Education to investigate the education of women and girls for rural life. Lady Denman, who is Chairman of the National Federation of Women Students, was also Chairman of this committee, and in her talk this evening she will review its findings—its report on what has already been done and its suggestions as to what more can be achieved.
CONTEMPORARY BRITISH COMPOSERS
— ARNOLD BAX
HARRIET COHEN (Pianoforte)
MARIA KORCHINSKA (Harp)
THE VIRTUOSO STRING QUARTET : MARJORIE HAYWARD (Violin), EDWIN VIRGO (Violin), RAYMOND JEREMY (Viola), CEDRIO SHARPE
MARIA KORCHINSKA and RAYMOND JEREMY
Fantasy Sonata for Harp and Viola (1927)
(1) Very quick; (2) Fairly quick; (3) Slow and expressive; (4) Quick
THE VIRTUOSO STRING QUARTET
Second and Third Movements from First
String Quartet (1917)
Slow and very expressive; Rondo-Quick and lively
CEDRIC SHARPE and HARRIET COHEN
Sonata for Violoncello and Piano (1923)
A RNOLD BAX (born 1883), one of the foremost present-day composers, was trained at the Royal Academy of Music, studying composition under Frederick Corder. His music was first heard in public in 1903, and since then he has written many large Choral, Orchestral, and Chamber works, besides Piano pieces and many subtle and fragrant songs.
The Fantasy Sonata for Harp and Viola, a recent work, is dedicated to the harpist whof plays it to-night. It is in four Movements, none of them long. The First, beginning at a great pace, after a time passes, through a less animated section, to a portion moving gently, in lyrical style. A brief return to the original pace, with a reminiscence of the Viola's opening melody, ends the Movement. With only one silent bar we enter the Second Movement, in Scherzo stylo. It contains some piquant treatment of the instruments ; here notice a recollection of themes heard in the First Movement. There is no break
... between-this Movement and the next, which begins slowly and expressively, quickens up, still singing broadly, reaches a climax of power, and finally returns to the opening mood.
- ' The Last Movement has some very brilliant work for both players, and has a wide range of feeling. Former themes appear again, and the threads of the work are drawn together towards the majestic end.
The Sonata for 'Cello and Pianoforte, when first brought out in 1924, was performed by Beatrice Harrison and Harriet Cohen. It is in three Movements; (I) At a moderate pace; (2) Slow; (3) Lively, followed by Epilogue-Calm, at a moderate pace ; all of them frankly romantic in feeling, and frequently tinged with the wistful regret which is, through different idioms, so characteristic of Bax's music.