' Armchair . Travels-II, Travelling with the English Adventurers of the Sixteenth Century'
THE gigantic nature of Sir
Francis Drake 's voyage round the world is apt to dwindle in our minds in these days when everyone is becoming a regular globe-trotter. So, too, with the adventurous voyages of Raleigh. Yet it is doubtful whether any of the tasks undertaken by our explorers and innovators of today excel, for all their near glamour, the daring of these heroic Elizabethans. In her talk this afternoon Miss Grierson, continuing her armchair travels, will tell particularly of Drake's voyage round the world and Raleigh's discovery of Guiana.
: ' England in the Middle Ages-III, The Mediaeval Village: (6) As an Ecclesiastical Unit'
DR. COULTON deals this week with the mediaeval village as an ecclesiastical unit. He will show how the parish system evolved from the pre- existing state of things; very much in the way that, in pagan times, the lord built a temple, appointed a priest, and ordained his support by tithes. Further, he will discuss the power of the priest, both theoretically and practically, in the village ; the distinction between rectories and vicarages, and also the official and social and economic relations between priest and parishioner.
By ORREA PERNEL SAMMARTlNI, which is of course merely a form of St. Martin, is a very common name in Italy and no one can say how many there have been in the world of music throughout the ages. But there were two who established a real contact with this country, and one of them, Giuseppe, lived here for many years, playing and composing. For a time he held the post of Director of Chamber Music in the household of the Prince of Wales, and was evidently a welcome figure alike in Society and in musical circles. We call him Sammartini of London, to distinguish him from his brother.
Giovanni, some seven years younger than the London one, is called Sammartini of Milan. Although he himself, so far as we know, was never in London, many of his Sonatas were published here by the old London firm of Simpson. Our Dr. Burntfy speaks of Sammartini's producing as 'an incredible number of spirited and agreeable compositions,' adding that in 1770 he was master of the music 'of more than half the churches in the city, for which he furnished Masses upon all the great Festivals.' ONE of the most original of present-day Italian composers, Malipicro came under a good many different influences in his early years, and for a time was spoken of as belonging to the ' futurist' school. Modern though his music is in many ways, the description is not an apt one for an artist who finds much of his inspiration in the music of past ages, and who has made a profound study of the very earliest Italian music. Athough he won many successes as a youthful composer, he destroyed all his earlier work, including two operas, one of which had been produced, and symphonic poems which had been played with success not only in his native Italy, but in Paris and Vienna. All these he regarded as out of touch with his mature aims and ideals, not representative of the path which he is carving out for himself. His music is strong and vigorous, with humour in it as well as passion, and, as one expects from Italian composers, he has a keen sense of the dramatic.
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