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: A MILITARY BAND PROGRAMME

From Birmingham
THE CITY OF BIRMINGHAM POLICE BAND
Conducted by Richard WASSELL

Contributors

Conducted By: Richard Wassell

: MURIEL SOTHAM (Contralto)

FROM Grieg's incidental music to Bjorson's drama, Sigurd Jorsalfar, (Sigurd the Crusader), three pieces have been taken to form a Suite. Of these, we are to hear the first, the Introduction. We are in the Court of King Sigurd and . King Eystein, sons of Harald, both of whom reigned in Norway at the same time, and were rivals. Hero wo have the atmosphere of royal pomp and festivity

: The Children's Hour

(From Birmingham)
The Little Gentleman in Velvet, by E. M. Griffiths
Songs by Isabel Tebbs (Soprano)
Foreign Fairies—V, The Story of Undine from Germany, by Isabel Lear
Ronald Gourley will entertain

: THE B.B.C. DANCE ORCHESTRA

Personally conducted by JACK PAYNE
IVAN FIRTH and PHYLLIS SCOTT (Duets)
GWEN MAWDESLEY (Entertainer)

Contributors

Conducted By: Jack Payne
Conducted By: Ivan Firth
Conducted By: Phyllis Scott

: THE LONDON CHAMBER ORCHESTRA

(Leader—SAMUEL KUTCHER )
Conducted by ANTHONY BERNARD
GLADYS PALMER (Contralto)
Relayed to the Cologne Broadcasting Station of the W.E.R.A.G.

Contributors

Leader: Samuel Kutcher
Conducted By: Anthony Bernard
Contralto: Gladys Palmer

: VAUDEVILLE

From Birmingham
HARLEY and BARKER
(Duettists)
ANGELA MAUDE
(Light Songs)
HAROLD CLEMENCE
(Comedian)
WOLSELEY CHARLES (In a Musical Sketch)
PHIL BROWN 'S DOMINOES DANCE BAND

Contributors

Unknown: Angela Maude
Unknown: Harold Clemence
Unknown: Phil Brown

: A MILITARY BAND CONCERT

THE WIRELESS MILITARY BAND, conducted by B. WALTON O'DONNELL
ETHEL FENTON (Contralto)
THE Suite, Scheherazade, based on stories from the Arabian Nights, is best known through the dancing and miming to its music by the Russian Ballet-but the plot of the Ballet does considerable violence to the original ' programme ' of the composer.
The Suite includes four sections, said to illustrate episodes from the stories with which the Sultana, Scheherazade, appeased her lord the Sultan, and finally won him from his murderous ways. It does not purport to follow any of the tales closely.
The Sultana is represented by a recurring theme, like an improvization.
In the last portion of the work, which we are to hear, the Sultana first tells of gorgeous festivities at Baghdad. Then she turns back to Sinbad, of whom she had earlier discoursed, and relates how his ship was wrecked upon an island. The storm is well suggested in the music.
In the end, the music tells us that the Sultan is appeased, and that the last word, as ever, is the woman's.

Contributors

Conducted By: B. Walton O'Donnell
Contralto: Ethel Fenton








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