' Bessie's Blackberry Pie,' by E. M. Griffiths
CUTHBERT FORD (Baritone) in a Selection ot
' Songs of the Fair' (Easthope Martin)
' Then and Now-Johnny goes to the Fair by Helen M. Enoch
MARGARET ABLETHORPE (Pianoforte)
THE BIRMINGHAM STUDIO ORCHESTRA, conducted by FRANK CANTELL
Relayed from the Queen's Hall, London
Sir HENRY J. WOOD and his SYMPHONY ORCHESTRA
DOROTHY SILK (Soprano) HOWARD FRY (Baritone) MYRA HESS (Pianoforte)
CHARLES WOODHOUSE (Violin)
ROBERT MURCHIE (Flute)
THIS Suite is scored for Oboes, Bassoon,
J- and Strings. First comes an Overture, in the two contrasted sections, slow and quick, that were customary then in such pieces. Then follows a Courante. This was a running dance, as its name implies. Afterwards in quick succession come a pair of Gavottes (the first repeated after the second has been played), a Forlana, a lively measure that sounds like an old English country-dance tune, a pair of Minuets, two Bourrées (like Gavottes in general characteristics), and two Passepieds (an old French, possibly Breton, round dance). In the last three pairs the first dance is repeated to round off the Movement, just as was the case in the Gavotte.
THIS Concerto is straightforward music, full of spirited tunes and swinging rhythm.
It is made up of three woll-contrasted Movements.
The First is a quick, cheerful piece that bustles along heartily.
The Second is a slow, meditative piece.
The Third is even livelier than the First-an impetuous, infectiously high-spirited romp.
BACH'S six Brandenburg Concertos were written for the Count Ckristian Ludwig of Brandenburg, who had heard Bach play, and immediately asked him to write something for his own private Orchestra.
The Fifth Concerto employs Strings and three soloists-Piano, Flute, and Violin. It is a work of irresistible high spirits, in three Movements -a quick one, of immense vigour, followed by a slow one marked to be played ' with tender expression,' and finally a gay, light-hearted, song-like piece.
WHEN we talk of music being turned out by the yard, we usually imply that it is poor stuff. But Handel was one (and Rossini was another) of the great Composers who could turn out music by the furlong, music of fine quality, which we still want to play and hear in 1928. The twelve Great Concertos (Concerti Grossi ), of which this is the seventh, are a case in point.
Handel wrote them in a month...
These are not Concertos in the modern meaning, that is, works written for a Soloist and an Orchestra. Handel used an Orchestra of stringed instruments and Harpsichord and divided it into two groups of players. One group consisted of two Violins and a Violoncello, and the other comprised the remainder of the Orchestra.
These groups are played off one against another, all through the work, having alternate cuts at the music, so to speak, and sometimes they are combined.
His seventh Concerto Grosso has five Movements, the first and third short and slow, the others in varying degrees of liveliness. The last Movement, a Hornpipe, shows that syncopation is no new thing, and that Handel knew how to introduce it artistically-as a piquant flavouring, not vulgarly dredging his music with a whole pepper-boxful of it at once.
DEBROY SOMERS' ClRO'S CLUB BAND. under the direction of RAMON NEWTON, from Ciro's Club