FRANK PHILLIPS (Baritone)
LEONARD HIRSCH and DAISY SHORROCKS
(Duets for Two Violins)
THE WIRELESS MILITARY BAND
Conducted by B. WALTON O'DONNELL
Relayed from the Central Hall
Order of Service : Organ Prelude
Hymn, ' Praise, my soul, the King of Heaven'
(Methodist Hymnal, No. 13)
Reading Anthem Prayer
Hymn, ' My God, I thank Thee Who has made the earth ' (M.H., No. 379)
Address by the Rev. E. BENSON PERKINS (of the Birmingham Central Mission, Wesleyan Methodist Church)
Hymn, ' Glory to Thee, my God, this night'
(M.H., No. 909)
At the Organ, M. L. WOSTENHOLM
Rev. E. Benson
Appeal on behalf of the Staffordshire General Infirmary by Dr. CHABLES REID, (Senior Physician to the Infirmary)
THE BIRMINGHAM STUDIO AUGMENTED
(Leader, FRANK CANTELL)
Conducted by JOSEPH LEWIS
A T twenty-eight, when he wrote this Overture, Sullivan had already achieved a fine command both of the Orchestra and of that i knack of writing gay tunes that has so endeared him to us all. He wrote few pieces more spirited than this, even in the Comic Operas-and that is saying a good deal.
After a short Introduction, there begins a very rhythmical leaping dance-tune (started by the First Violins--chief accompaniment, Horns). This tune holds sway for some time, being given to most instruments in turn, including Flute and Piccolo. Later, there follow several waltz-tunes. Towards the end, the dancers break into a Galop.
THIS Concerto (really Beethoven's second, in order of composition) was written when the composer was about twenty-eight, and is full of life and grace.
FIRST MOVEMENT. As was usual then in the Concerto, the Orchestra alone, in the opening bars, first presents the chief themes. These are soon taken up by the pianoforte, which deals brilliantly with them. Near the end there is a pause for the ' cadenza,' when the piano goes off on an adventure of its own. Beethoven wrote three cadenzas to this Movement, the last of which is one of the finest examples we have of this kind of pianoforte oratory.
The SLOW MOVEMENT is based on an expressive melody which the solo instrument richly decorates. The Clarinet has a particularly beautiful and important part to play.
The LAST MOVEMENT is the usual Rondo, the phrases of its first main tune delightfully extended beyond the usual four-bar length, in a fashion that reminds us of Haydn.
The contrasting second tune comes in on the First Violins and Oboes, and (after a return of the original melody) a third appears on the piano (the left hand leaping spiritedly up and down), accompanied by a brief conversation between Flutes and Bassoons. There are three little cadenzas in this Movement, before the orchestra steps in and has the last word.
IN this group we have two of the happiest pieces of fairy music. The Scherzo is
Mendelssohn's prelude to the second act of A Midsummer Night's Dream. It conjures up for us the pranksome Puck and the dainty train of fairies, whom in this Act their Queen sends about their duties.
The Nocturne is called for by Titania to lull to sleep the poor, weary mortals, victims of the fairies' tricks.