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: CHAMBER MUSIC

From Birmingham
FRANK CANTELL (Violin), ARTHUR KENNEDY (Viola), LEONARD DENNIS ('Cello), ARTHUR COCKERILL (Bass), S. C. COTTERELL (Clarinet), W. A. CLARKE (Bassoon); W. S. YORKE (Horn) THIS is one of Beethoven's early works, in which he was exploring the possibilities of Chamber Music, for both Stringed and Wind instruments. The Septet was first played at a concert in Vienna in 1800. The event was a notable one, for the first of Beethoven's nine Symphonies was brought out that evening. There are half-a-dozen Movements in the Septet, all containing a pleasant tincture of Mozart and Haydn. First wo have a lively and graceful Movement, next a lovely, serene Slow Movement, and after that a Minuet. Fourthly comes a set of Variations on a melody much like a folk-tune.
A Scherzo follows-a sort of gay, jesting
Minuet, and then a few bars of March music bring in the brisk and brilliant Finale.

Contributors

Viola: Leonard Dennis
Cello: Arthur Cockerill
Bass: S. C. Cotterell
Bassoon: W. A. Clarke
Bassoon: W. S. Yorke

: THE DANSANT

From Birmingham
HAROLD TURLEY 'S DANCE BAND, relayed from
Wimbush's Prince's Café
MARJORIE EDWARDS
(Songs at the Piano)

Contributors

Unknown: Harold Turley
Unknown: Marjorie Edwards

: THE CHILDREN'S HOUR (From Birmingham)

' Terry in Taledom,' by Robert Jenkin. Songs by Stanley Finchett (Tenor). Chrissie Thomas and her Hand-Bell Ringers in Chimes, Melodies and Change-Ringing. ' The Earl of Mar's Daughter,' a Border Story by Margaret M. Kennedy

Contributors

Unknown: Robert Jenkin.
Tenor: Chrissie Thomas
Story By: Margaret M. Kennedy

: LIGHT MUSIC

THE GERSHOM PARKINGTON QUINTET
DOROTHY LEBISH (Contralto)
WEBSTER BOOTH (Tenor)

: DANCING TIME

THE LONDON RADIO DANCE BAND, directed by SIDNEY FIRMAN
SANTA and BARBARA
(Vocal Spanish Duets and Solos)
BOBBIE SAUNDERS
(Syncopated and Irish Songs)

Contributors

Directed By: Sidney Firman
Unknown: Bobbie Saunders

: An Orchestral Concert

From Birmingham
The Birmingham Studio Orchestra
Conducted by Joseph Lewis
Weber, commissioned to write a new Opera for a Vienna theatre (because of the success of his The Marksman), tried several plots, discarding them for the work of an eccentric woman author, Helmina von Chezy (who was largely responsible for the failure of Schubert's Rosamunde, for which she wrote a muddled libretto). Together they selected a plot from a thirteenth-century tale of chivalry, full of ghosts, fairies and such-like legendary folk. The work did not hold the stage; its libretto was too silly even for those days. The Overture strikes the notes of chivalry and mystery. According to Weber's characteristic plan, it contains fragments of the Opera's loading airs.
This is the fifth of the six Violin Concertos that Mozart wrote when, a young man of about twenty, he was living at Salzburg. His father had a great opinion of his son's capacity as a violinist, and urged him to practise.
'You have no idea how well you play the violin,' he wrote to him. 'If you would only do yourself justice and play with boldness, spirit and fire, you would be the first violinist in Europe.' To please his father Mozart worked away at the fiddle, and these Concertos were an outcome of his interest in the instrument. He wrote for a typical Orchestra of the time, consisting of Strings, with two Oboes and two Horns.
Second Movement. In this Slow Movement both First and Second Main Tunes are first given out by the Orchestra, and then repeated by the Soloist. A short interlude brings back the First Tune.
Last Movement. Here is a Rondo, in unusual form. Its opening melody comes round three times, with, by way of variety, two other tunes, one major and the other minor, between the repetitions. This makes the complete 'double sandwich' of orthodox Rondo form. But now Mozart inserts a dashing little episode after the style of the Turkish military music that was much admired in his day. The only drawback here is that the drums and cymbals characteristic of the Turks' 'janissary' music (as it was called) are lacking; but Mozart makes up for them by giving added piquancy to his simple scoring, so that we get all the excitement of the military band, without its noise. After this rather astonishing interruption, the Rondo returns to end the Concerto, but with only two out of its three tunes—a single sandwich instead of a double one.
Tchaikovsky said of his Pathetic Symphony: 'I love it as I have never loved one of my musical offspring before.' It was the last Symphony he wrote. He died a fortnight after its first performance.
The Second Movement, which has a graceful and unusual rhythm of five beats in a bar, falls into three sections—1st Section (note how the First Main Tune is given to the 'Cellos and then a second Tune is given to the Violins, afterwards taken up by the Woodwind, whilst the Violins decorate the score with scales); 2nd Section—softer and more sedate; 3rd Section—like the first.
(Until 23.15)

Contributors

Conducted By: Joseph Lewis








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