Translated and adapted from Lessing's Comedy by E. U. OULESS
Arranged for Broadcasting by Dulcima Glasby
Incidental Music played by THE WIRELESS ORCHESTRA
Conducted by JOHN ANSELL
* This translation of the play, under the title of ' The Way of Honour,' is to be published very shortly in The Nelson Playbooks, edited by John Hampden. (Nelson & Sons, 7d. net)
THE WIRELESS ORCHESTRA
Conducted by JOHN ANSELL
10.0 'The Second News'
WEATHER FORECAST, SECOND GENERAL NEWS BULLETIN; Local Announcements ; (Davenlry only) Shipping Forecast and Fat Stock Prices
10.20 Cyril Scott
A Short Recital of his own Music
Two Pierrot Pieces:
(a) Pierrot Triste
Gai Lotusland Valse Seherzando
(No. 3 of Three Frivolous Pieces)
Valso Sentimentale (First Performance)
Pastorale No. 3
An English Waltz
CYRIL SCOTT is one of those versatile people who win distinction in more than one field. He is a composer, a poet, and an author of note on philosophic subjects. Bom in Cheshire in 1879, he was a student at Frankfurt, where more than one other young Englishman who has since stepped into the front rank of composers, was with him. At the end of his student career he lived for a time in Liverpool, teaching and playing, and his first important orchestral piece, the ' Heroic Suite ' was played there as well as at Manchester with Richter conducting. Soon afterwards his Pelleas and Melisande was given in Frankfurt. Other works of his have figured at Sir Henry Wood 's concerts and elsewhere; Sir Thomas Beecham has interested himself in more than one of them, and as far afield as Vienna his chamber music and at least one orchestral piece have been played. Best known by his songs and smaller pieces, many of which are valuable additions to the repertoire of the concert room, he deserves a more important position than his native country accords him for his bigger and more serious works. We are given too few opportunities of hearing them. In some ways less definitely English than that of most of his contemporaries, his music is in every way original, and modern without any of the more startling dissonant effects in which the present day composer inclines to express himself.
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