Relayed from the London Palladium
THE NEW SYMPHONY ORCHESTRA
Conducted by Dr. MALCOLM SARGENT
Prince GEORGE CHEVCHEVADZI (Pianoforte)
LIKE more than one of his gifted compatriots,
Rimsky-Korsakov began his career as a musician from the amateur's point of view. Born in that class of Russian Society whose sons have a choice of only two careers, ho was a sailor until his thirtieth year. Even after his fine musicianship had earned him the appointment of Professor of Composition in the St. Petersburg Conservatoire, he carried on its duties for some time without relinquishing his rank on the active list of the Navy. That there is nothing amateurish in his musical equipment is by now very clearly recognized. He is known as one of the most brilliant members of the modern Russian school, whose work combines something of Eastern gorgeousness with the sombro traits of the Slav character. Oriental subjects always had a strong fascination for him, and in the Suite to be played this evening the East. with its blazing sunshine and its brilliance of colour, is vividly presented in the music.
The subject is, of course, from the Arabian
Nights, and the composer prefaced his score with the following note :—
' The Sultan Schahriar , convinced of the infidelity of the whole race of women, has sworn to send each of his wives to death after only one bridal night. But Scheherezado saves her life by interesting him in tales which she recounts one after another for one thousand and one nights. Impelled by curiosity, the Sultan puts off from day to day the fate of the lady, and ends, as all the world knows, by renouncing his blood-thirsty intention.'
The four stories which are used aa subjects in the several movements in the Suite are :-
1. The Sea and Sinbad's Vessel.
2. The Story of the Prince.
3. The Young Prince and the Young Princess.
4. Fete at Bagdad. The Sea.
The ship is wrecked against the rock surmounted by the Warrior of Brass. Conclusion.
Tho first one begins with a robust tune which obviously indi. cates th& furious Sultan. The running phrase on' the violin, which follows, is clearry Scheherezado herself, and then a tranquil section in 6-4 time is the telling of the story. The wrath of the Sultan is heard again, and Schcherezade's seductive pleading, both mingling with the story in a very interesting way, and at the very end a soft presentment of the Sultan's theme tells us that for the moment, at least, the lady has won.
In like manner, the other movements illustrate the tales with which listeners must all be familiar, so that further detailed analysis is hardly necessary. It is interesting, however, to note the reappearance, particularly in the fourth movement, of the tunes of the angry Sultan and the pleading Schelierezade. It is her tuno which triumphs at the end, after we have heard the Sultan's theme in a much gentler form than at first.
CHABRIER, best known as the composer of the brilliant' Spanish Rhapsody,' had more than a fair share of the ill-fortune which so often dogs the steps of genius. His opera, Le Roi Malgre Lui (The King in spite of Himself), cast in a rather old-fashioned form, was given with success at the Opera-Comique in 1887. But after only three performances the theatre was burned down, and though the opera was afterwards revived, it has never won the popu-larity which its brilliance, its spontaneity, and its exuberant humour deserve.
Although he began his career as an amateur, Chabrier achieved a real mastery over the materials of music, and may well bo regarded as one of the founders of the modern French school.
This Polish Festival, taken from the ill-fated opera, begins with a rhythmic outburst, punctuated by silences, and then an energetic dance theme appears. It comes to an end with a long, silent pause, and after several brief interchanges of swift-moving and slower tempo, there is a three-in-the-bar section, suggesting the traditional Polish Mazurka. It is set forth at some length with more than one melody of its own, and after a reminder of the opening, a still more lively dance movement brings the piece to its boisterous close.
For Programmes from 4.45 to 6.15 and from 6.45 to 8.45 see opposite page
From the Little Plays of St. Francis' by LAURENCE HOUSMAN
Performed by UNIVERSITY COLLEGE. LONDON, DRAMATIC
Produced by A. S. GILBERT
FOR a number of years, the Dramatic
Society of University College, London, have given annually a series of public performances (devoting the proceeds to religious charities) of these celebrated plays by Laurence Housman which illustrate episodes in the life of St. Francis of Assisi. No more delightful figure appears in the whole pageant of the Middle Ages than St. Francis, the apostle of poverty and the exponent of the simplest elements of human holiness and happiness. Listeners who remember the previous broadcasts of Brother Juniper and Sister Clare will realize how perfectly Mr. Housman's Little Plays of St. Francis' have caught the spirit of that extraordinary movement that St. Francis initiated, which remains to a great extent unique in the history of Christianity. Tonight's production is again being given by the Dramatic Society of University College, London.
Dr. ALEXANDER HETHERWICK, C.B.E., D.D. :
' My Forty-five Years in Central Africa.'
S.B. from Aberdeen
WHEN Dr. Hetherwick started work as a Church of Scotland missionary in Central
Africa in 1883, he found the country very different from what it is today. The change is well illustrated by the fact that on the spot where he once watched a fierce battle between the Angeni and the Yao, the Sports Ground at Zomba now stands. Amongst his own exploits which contributed largely to the change, it may be mentioned that he handed out the first ten seeds from which the "most profitable agricultural industry in the country has now grown up. When he left Africa he was Moderator of the Central African Church with a native membership 40,000 strong.
Scenes from Old Testament History 'THE PROPHETS ON MOUNT CARMEL'
PREVIOUS series of Old Testament readings have illustrated the poetry and the wisdom in which the Bible abounds. The present series (which began with the reading of the ' Queen of Sheba' passage last week) is taken from the second half of the Old Testament, the books of Kings, Esther, Job, Ezekiel, and Daniel. Throughout the series recurs the idea of the God of Israel defending His people against the incursions of the heathen; and the passages that will be read have that epic quality to which the Bible narrative so often soars. This afternoon will be read the story of one of the most striking occasions on which the prophet of Israel was vindicated-the conflict on Mount Carmel between Elijah and the prophets of Baal.
SINGET DEM HERRN EIN NEUES LIED
(Sing to the Lord a glad new song)
Relayed from the Guildhall School of Music
DORIS OWENS (Contralto)
JOHN ADAMS (Tenor)
KEITH FALKNER (Baritone)
(For the words of the Cantata see page 17.)
Explained by Dr. SYDNEY H. NICHOLSON
Warden of the School of English Church Music
With illustrations by THE CHOIR OF ALL SAINTS' CHURCH,
T Three Hymns Come, Holy Ghost (A. and M., 157), to Plain-song As with Gladness (A. and M., 79), to German tune When the crimson sun had set (Traditional French Carol)
CHURCH music is a province almost without bounds, but the ordinary small church has few opportunities to explore more than a very limited portion of it, and in village churches both organist and choir tend to got a shade weary of their small repertoire without having much incentive to enlarge it. Dr. Sydney Nicholson will be remembered for his many broadcasts from the organ of Westminster Abbey when he was organist there. He recently loft the Abbey to found a school of English Church Music, of which he is Warden, and where he is doing much to improve the general standard of church music throughout the country. In tonight's lecture recital he will attempt to show many types of church music that are not generally known in small churches, which can yet be quite easily performed by small village choirs.
(For 8.45 to 10.30 Programmes see opposite page.)
Appeal on behalf of Shaftesbury Homes and Arethusa Training Ship by the Rev. C. M. HORLEY , Deputation Speaker for the Society
STARTING in 1843 as a Ragged School in the slums of St. Giles's, the Shaftesbury
Homes have now expanded until they consist of six homes, a shipping depot, a technical school and working lads' hostel, and, of course, the famous training-ship Arethusa. This, the last British frigate to go into action under sail alone, has been a training-ship since 1874, and has passed 3,500 boys into the Navy and 6,500 into the Merchant Service. An appeal broadcast in 1927 for help with very essential repairs to the Arethusa (then in danger of breaking in half) raised £626. Tonight's appeal is for funds to meet the constant expenses of maintenance of the homes.
Contributions should be sent to [address removed]
NEWS BULLETIN. Local Announcements; (Daventry only) Shipping Forecast
and the Park Lane Hole! Orchestra
From the Park Lane Hotel
ELSIE GRIFFIN (Soprano)
ORCHESTRA Overture, 'Mignon' - Ambroise Thomas
Valse des Flours (' Nut-Cracker' Suite) - Tchaikovsky
ELSIE GRIFFIN Waltz Song (' Romeo and Juliet') - Gounod
ORCHESTRA Selection on famous works by - Grieg
ALBERT SANDLER (Violin) Kol Nidrei - Max Bruch
Pale Moon - Logan, arr. Kreisler
ELSIE GRIFFIN April is a Lady - Philipps
ORCHESTRA Hungarian Rhapsody No. 14 - Liszt