1 LESLEY DUDLEY (Soprano)
THE MARIE WILSON STRING QUARTET :
MARIE WILSON (1st Violin), GWENDOLEN HIGHAM (2nd Violin), ANNE WOLFE (Viola),
PHYLLIS HASLUCK (Violoncello)
HERE is a work full of tunes and richness, cheerful and simple to grasp. In the Slow Movement we find clean emotion and attractive efflorescence of delicate ornamentation. The Third and final Movement (a Rondo) prances and swings along in great feather. Note the curious glassy sounds produced when (after the music has gone into six-eight time-two beats to the bar, each beat divided into three), the strings play very close to the bridge—' sul ponticallo,' as it is called. The Quartet is dedicated to Elgar.
. ' The Groat White Way '
(Wherein the programme takes on an American flavour)
' More about Brer Rabbit,' told by Mrs.
' The Talc of the Flim-Flam '
(James Whitcomb Riley )
' Little Orphant Annie ' (Eugene Field) and other verse, by American Poets
' Lights on Broadway '—
A Glimpse of New York by Erasmus P. Perkins
fTIHE Italian Concerto is an attempt to apply to one instrument the principles of alternation and of contrast that were observed in writing music for an instrument (or group of instruments) used with some form of Orchestra. It is a Concerto, but a one-man Concerto, the only piece so named that Bach ever wrote for one performer
The instrument for which it was intended was the double-keyboard Harpsichord, in which contrasts of tono unavailable in the single- keyboard form could be taken into account by the Composer. Bach's use of the one keyboard or the other is indicated by the words ' forto ' and ' piano,' and sometimes one direction is applied to the righthand part and the other to the left, so presenting an effect which would have been impossible upon a single-keybcard Harpsichord, and the possibility of which upon th9 Harpsichord's successor, the Pianoforte, gives point to the name it has received.
The title refers to the fact that the Italians established the Concerto form as a chain of Movements (usually, as here, three-two quick ones, with a slow one in the middle).
THIS is the first of a series of four talks on -L Art by the Slade Professor of Art at the University of Oxford. In connection with these talks a number of coloured reprints of Old Masters, prepared by the Medici Society. will bo obtainable, as in the ease of the sim'lar series given by the late C. Lewis Hind, when postcards were issued in conjunction with the National Gallery, and several thousand sets were sold. It is expected and hoped that the new series will receive equal proofs of appreciation.
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