FROM his island of Jethou, Mr. Compton Mackenzie has, as it were, as good a view of the Channel Islands as a man might have. Fortunate, indeed, he is, to be able to enjoy these happy islands from the inside instead of, as with us poor occasional holiday-makers, from the outside. Who has not wished, when spring first comes, to be free to go where those fields are full of flowers and where already it is warm ? But it is the people who live in the Channel Islands of whom, also, Mr. Mackenzie will be able to tell us. And no one who has heard any of his broadcast talks will need reminding of the charm with which, by virtue of his retentive memory and 'sensitive style, he can invest his words over the microphone.
JOHN IRELAND (Pianoforte)
THE VIRTUOSO STRING QUARTET
MARJORIE HAYWARD (Violin): EDWIN VIRGO (Violin); RAYMOND JEREMY (Viola);
CEDRIC SHARPE (Violoncello) IT is an interesting measure of the rapid march of music in our time, that Ravel-regarded less than a generation ago as tho arch-apostle in France of modern impressionism-is now accepted as tho foremost representative there of tho older order, upholding the tradition which can be logically traced from the classics through Saint-Saens and Faure.
This Quartet, dedicated ' to his dear Master, Fauré,' is an early work ; revised by Ravel, it appeared in its present form in 1910. The chief difficulty which ib presents to the ordinary listener is the sense it is apt to give him of being fragmentary; only after repeated hearings does its conciseness become clear. The first movement, however, is fairly easy to follow, and its two main tunes, the first appearing at the beginning on the first violin, and the second, also on the first violin a little later, are quite straightforward melodies which are easily recognized throughout the movement. The second begins with a very quick figure which gives place soon to a little fragment of song-like tune on the first violin, and though tho time and the mood change frequently, these two, as well as another melody broadly played by the first violin, will be heard to have the chief say in it. The third movement is for the most part in a very slow time, although it, too, changes here and there to a livelier mood. The melody which listeners will find it easiest to' keep in mind is one which the viola plays at the beginning of the mov, ent. The last movement begins storingly, and soon there is a calmer section with a oroad melody in which all the instruments share. On alterna, tions of these two the short movement is made up,
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