Aus meinen grossen Schmerzen (From my great grief) ..................
Gute Nacht (Good night) ............ Madchen mit den roten Müdchen (Maiden with the rosy cheeks) ..............
Im Rhein, im heiligen Storme (The Rhine, Franz the holy river) ....................
Ein Standlein wohl ver Tag (The hour before dawn) ....................
Mario, am Fenster sitzest du (Mario, sitting at the window) ............
Im Herbst (In autumn) ..............
arranged under the auspices of the Overseas Settlement Department
This is the first of a series of monthly talks which is to be given under the auspices of the Overseas Settlement Department. Many listeners will recall the recent series on migration which were given by people of practical experience qualified to advise intending migrants on the right lines. The present series is being planned in a similar manner.
: ' The Meaning of Pictures-III'
MICHELANGELO and Raphael are the two artists chosen by Mr. Roger Fry to illustrate his contention that, whereas the sculptor is only concerned with the relations of the parts of the figure to each other, the painter is concerned with the double problem of creating the appearance of the solid bulk of objects and of situating them in an imagined space.
By M. H. ALLEN
Music selected and arranged by Doris ARNOLD
Vladimir Ivanitch , a young man
Alexis Petrovitch , a middle-aged landowner
Natasha, a young girl
Varvara Pavlovna , a woman of thirty
IT is a summer evening in Russia loss than a hundred years ago. From an old, rambling house long windows open on to a terrace ; candle light shines on ringlets, sloping shoulders, and white satin crinolines. Two men sit in the shadow. They are very conscious of the green, mysterious garden, the river, and the moon rising behind the birch trees. The air is full of the scent of the ripening rye wafted from the dark fields,
THE WIRELESS SYMPHONY
(Leader, S. KNEALE KELLEY )
Conducted by SCHNEEVOIGT
Op this Concerto it is eminently true that in its virile, sincere wholesomoness it can speak for itself far better than any mere words may hope to do, no matter how enthusiastic the scribe might be in its praise. There are three movements : the first is a big, robust Allegro, of which the chief tune is boldly announced at the outset by all the strings in unison; in the second, Adagio, a theme of rather solemn import, also played first by the strings in unison, becomes anon the bass for a very beautiful, song-like melody on the pianoforte. The third, again an Allegro which has a spirit of wholesome merriment in spite of its minor mode, ia based on two figures, heard simultaneously at the opening-one beginning with a downward scale and the other mounting vigorously upwards.
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