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From Birmingham
GESANG WEYLAS tells of a mystic vision of a sacred isle. shining afar, before whose shrine kings bend and worship.
Auf ein altes Bild is a meditation upon a scene in which the Christ Child plays on His mother's knee:—
And close by, in the woods so green, Lo. there the growing cross is seen !
Verborgenheit, one of the best-known of Wolf's songs. is in the first volume of his settings of poems, by Edward Morike. ' Tempt me not, 0 world, again.' is its theme; 'Let my heart, unspoken, cherish all its rapture, all its pain.'
Or. 95 brings us to a time in the life of Beethoven
(1810, when he was forty) at which he was at perfect maturity-when he had found out for himself fine new ways of expounding his logic and driving home his meaning, and had brought his methods to a wonderful pitch of power and sureness.
The manuscript of the Quartet (which is in the usual four Movements) bears the inscription, ' Quartetto serioso—1810—in the month of October. Dedicated to Herr von Zmeskall and written in the month of October by his friend, L. v. Beethoven.'
The word ' serious' does not perhaps fully describe the work. which is full of impassioned expression and those deeper qualities of the spirit that arc so strongly distinctive in the latter work of the composer. The ' seriousness ' takes many forms, and all of them are full of meaning for those who look below the surface of things.


Unknown: Gesang Weylas
Unknown: Edward Morike.


Variety Interludes by CLIFF LESTER and MIRIAM FERRIS


Directed By: Sidney Firman
Unknown: Cliff Lester
Unknown: Miriam Ferris


(From Birmingham) : ' Some Musical Modern Jingles.' by Janet Joye. ' Dodo, the Cave Boy ' by Janet Muir. Songs by Harold Casey (Baritone). Dialogue, ' Let's think about Christmas Presents,' by Mona Pearce


From Birmingham


Leader: Frank Cantell


Conducted by PERCY PITT
THIS is. perhaps, the most popular of Griegs' larger works.
FIRST MOVEMENT (Moderately quick).-After a preliminary flourish on the Piano, the First Main Tune is at once given out. It consists chiefly of a little curt phrase in Woodwind, and a more suave phrasewhich is nt first given to Clarinet and Bassoon. and then repeated at great length. This whole (fairly long) Tune is repeated on the Piano. Then follows a longish passage of rapid work for the Piano and Strings and Woodwind. At the end of this there is something of a climaxand then comes the beautiful Second Main Tune.
SECOND MOVEMENT (Slow).—This opens with a long Tune given to Muted Strings. At the end of this the Piano enters with a long, rhapsodical passage. Eventually. Flute and Clarinet quietly suggest the Tune with which the Movement opened which the Piano then declaims at full length.
THIRD MOVEMENT(Quick and emphatic).-
A few soft. detached chords in the Orchestra. a very loud Piano flourish. and one loud chord (Full Orchestra), and we are plunged into a lively Dance. The Dance is interrupted for a time, whilst we hear, as it were in the distance, a song. The Dance soon returns and, at the end, the song-tune is declaimed loudly _by piano and orchestra.


Conducted By: Percy Pitt
Conducted By: Florence Holding
Pianoforte: Leslie England

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