' Planning the Household Budget-IV, The Family Budget on a Weekly Wage '
(A table which listeners will find useful in following this talk appears on page 178 of this issue.)
KATIE DANIELS (Contralto)
ARTHUR Cox (Tenor)
By E. J. GADBALD
From Lozell 's Picture House, Birmingham
From the Piccadilly Hotel
Miss RHODA POWER,What the Onlooker Saw
(Course III)— Beaux and Belles in Bath'
' The Queen Cook ' from ' The Phoenix and the Carpet' (E. Nesbit )
Five Songs ot Elrtand ' (York Bowen), sung by EVA NEALE
' Poupee Valsante ' (Poldini), and other Piano
Solos, played by CECIL DIXON
' Bowling,' by A. E. R. GILLIGAN , the Sussex
BACH?KLAVIERBUCHLElN AND NOTENBUCH
Played by GORDON BRYAN (Pianoforte)
WHEN Bach's eldest son, Wilhelm Friedemann , was about ten years old, the great master compiled for him a little book of pieces for the klavier (as we should now say, for the pianoforte), mainly his own compositions, but including one or two taken from other sources. The instruction of the lad, and his practice, were no doubt what John Sebastian had in mind, but almost without exception, the little pieces are music which we treasure now for its own sake, -melodious and compactly knit with all the master's deft skill. Many of the pieces were afterwards included in other collections of his pianoforte music, a number of them, for instance, in the ' Well Tempered KJavier,' that monument of keyboard music. Sometimes the names by which they are denoted in Friedemami's little book are not those which Bach gave them later; some, for instance, to which he afterwards gave the name of Invention' ho calls here' Praeambulum.' Some are dance movements such as we find in the French and Italian Suites —Allemandes, Minuets, Courantes, and Gigues; some are simple chorales, and one or two are little choral preludes.
The pieces to bo played as ' Foundations of Music,' from Monday to Thursday inclusive, are all taken from Friedemann's little book; those for Friday and Saturday come from one of two similar books which Bach compiled for his second wife Anna Magdalena. She also had the benefit of careful teaching at his hands, and became musician enough to be a very real help to him in his work, making beautiful copies of some of his music, eventually in a handwriting so like his own that experts are often in some doubt whether it is hers or the master's. All the pieces to be played on Friday and Saturday are Bach's own except one little Rondo which Bach copied from Couperin.
RUDY STARITA (Xylophone and Vybrophone
DAVID JENKINS and SUZETTE TARBI (In Popular
WISH WYNNE (Character Studies)
' Mrs. Hamblett Records Her Vote! by HERBERT C. SARGENT
Relayed from the Royal Opera House,
TRISTAN and Parsifal were both running in Wagner's mind while he was at work on the Nibelung's Ring, and in the summer of 1857 he put the big work aside, partly because he had begun to doubt whether there was any chance of its ever coming to performance. Just then ho was waited on by an envoy from the Emperor of Brazil with a request that he would compose an opera specially for Rio de Janeiro. Taken somewhat by surprise, Wagner gave no definite answer, but began work nevertheless on Tristan. He has left it on record that the poem and the music were written with ' an artist's perfect abandonment in his task,' and he had no doubt himself that the union of poetry and music was the most completely satisfying of any he had achieved. But some years elapsed before the opera was produced, one disappointment after another delaying the performance, and only gradually did it win its way to the position it now holds.
The story of Tristan is known to every good
Briton; tho germ of it is in our Sir Thomas Malory 's Morte d'Arthur.' In Wagner's opera, the second Act is chiefly given to a long love duet between Tristan and Isolda at night in the garden of tho King's Palace.
At the beginning, Brangane, Isolda's maid, is restraining her impatient mistress from signalling to Tristan until the King and his Court are safely out of reach, on a nocturnal hunt. Brangane suspects the Knight, Melot, of having arranged the hunt as a ruse, and, at the end of the act, her fears are justified. The King and his followers return to find the lovers together, and Tristan is mortally wounded by Melot's sword.
JOHN TURNER (Tenor)
ETHEL WALKER (Pianoforte)
Melodie, Op. 39
Midsummer (New England Idylls, Op. 62) From a Wandering Iceberg (Sea. Pieces) Song, Op. 55, No. 5
Thy Beaming Eyes The Swan bent low A Maid Sings Light OLovely Rose Slumber Song
From the Depths (Sea Pieces), Op. 55, So. 6 To a Wild Rose (Woodland Sketches) Polonaise, Op. 46, No. 12
by the Fultograph Process