• Show TV Channels

    Hide TV Channels

  • Show Radio Channels

    Hide Radio Channels

  • Show Years

    Hide Years

  • Issues

Close group

Close group

Day Navigation



by ERIC H. THIMANN , F.R.C.O.. Organist and Director of the Choir. Park Chapel, Crouch End
Relayed from St. Mary-le-Bow Church

: Mr. F. H. MILES, 'A Garden Chat'

THIS is the second of the gardening talks by Mr. Miles, who, besides being the author of several books on gardening, is himself a well-known and successful practical gardener. Today fortnight Mrs. Marion Gran will continue her usual series of talks.


: 'In and out of the Ark,' in other words, More About Animals, including : Appropriate piano solos by V. Hely-Hutchinson. The Biter,' a true story by H. Mortimer Batten, and a most untrue Talk-' Grobblepumphs and other Whoppers,' bv The Wicked Uncle




Relayed from the Queen's Hall
BEETHOVEN'S earliest appearance on a Vienna platform as a Soloist was when, in 1795, he gave the first performance of this Concerto. It is called the Second Concerto, but it was actually written before that which is commonly numbered as the first.
At that time Mozart had only been dead a few years, and Haydn was still alive. It is not, then, to be wondered at that Beethoven's early works show a good deal of these masters' styles ; and in this Concerto especially the influence of Mozart is apparent. Beethoven was not too puffed up about the work. which, he said, was not one of his best. and for which he only asked his publisher ten ducats (£5).
The music is in the usual three-Movement division of the Concerto.
FIRST MOVEMENT. We have at the start the regular opening in which the Orchestra shows us the First Main Tune, before tho Pianoforte takes it up. Similarly, the Second Main Tune is first heard from the Orchestra (First Violins and Bassoons), to be duly adopted by the Soloist. The working out of this material and the representation of it practically in its original form make up the life of the Movement.
SECOND MOVEMENT. One theme only is used, recurring, after little contrasting episodes, in various settings, with typical ornamentation of the tune. Happy hints are here and there to be found of the individuality that was already breaking through the screen of Mozart's and Haydn's influence.
LAST MOVEMENT. A care-free Rondo, in which the Piano has first cut at all three Main Tunes. No gayer wind-up for a light-weight work could be imagined.
THIS is an essay in the Italian style. written
-*- when Beethoven was about twenty-six. It consists of a long recitative, with various changes of pace. in which the wronged one upbraids the deceiver, and calls for Heaven's vengeance upon him. Then. with a revulsion of feeling. she begs the ' avenging god' to spare him. ' For him I lived,' she declares, ' and I would die for him.'
Then, in a slow Air. she pleads with the hard-hearted one himself to stay, for if he departs, she must perish of grief.
In the final section she asks why he treats her thus, and beseeches him to have pity on her distress.
THE FIRST MOVEMENT is troubled, nervous music—'the disordered sentiments which overthrow a great soul, a prey to despair,' said Berlioz. Its first four gruff notes, known as ' Fate knocking at the door.' are famous among musicians, as a concentrated, significant, and entirely unique idea.
The SECOND MOVEMENT is a series of connected
Variations on a long-drawn Theme that has two distinct sections, the first a sinuous melody, and the second suggestive of a fanfare.
The THIRD MOVEMENT is a Scherzo, a word that means ' a jest.' and became attached, as a formal term. to the light-styled, quick Movement that was usually found in the middle of a Symphony. Here, however, it is grim jesting, and there is no feeling of relaxed tension. It was by such movements as these that Beethoven raised the Scherzo from the air of triviality with which it first entered into the Symphonic scheme, anu brought it to full rank as a musical composition.
At the end of it comes a mysterious, whispered passage that gradually takes the music out ot
C Minor into C Major and leads into the blaze of the FOURTH MOVEMENT, a triumphal pæan that sustains the note of exhilaration from beginning to end, except for a moment where Beethoven brings in a few bars of the Scherzo. - The ending is a rattling and a pounding of C Major chords without a parallel in music.


CHUMANN was a fervent admirer of Byron and in 1848. when he was thirty-eight, he put his whole heart into the composition of an Overture and fifteen pieces of incidental music for the stage presentation of the poet's drama, Manfred.
' Never,' he averred. ' have I expended such love and strength on any previous composition. - consiaer it, he wrote to Liszt, ' one of the finest children of my brain.'
The Overture does not seek to follow the incidents of the drama. It is a piece of mood painting, depicting the sombre, passionate character of Count Manfred, a man of bold and powerful impulses, who sold himself to the devil, lived aloof from men, and died very-much tormented by remorse.

ORCHESTRA Overture to ' Manfred ' - Schumann
RACHEL MORTON Wie Melodien - Brahms
O hebliehe wange - Brahms
HARRY BRINDLE Creation's Hymn - Beethoven
Song of the Volga Boatmen - arr. Chaliapinc-Koenemann
Shepherd, see thy horse's foaming mane - Korbay
ORCHESTRA Intermezzo, 'The Battle of Poltava' (' Mazeppa - Tchaikovsky

: Mr. BASIL MAINE, Next Week's Broadcast Music '

SO much music is broadcast during the week that it is hard to pick out the things one really cannot afford to miss. These weekly talks by Mr. Basil Maine, the music critic of The Spectator, and a well-known writer on music and the theatre, are designed to help listeners to make up their minds beforehand what broadcasts they particularly want to hear.

About this project

This site contains the BBC listings information which the BBC printed in Radio Times between 1923 and 2009. You can search the site for BBC programmes, people, dates and Radio Times editions.

We hope it helps you find information about that long forgotten BBC programme, research a particular person or browse your own involvement with the BBC.

Through the listings, you will also be able to use the Genome search function to find thousands of radio and TV programmes that are already available to view or listen to on the BBC website.

There are more than 5 million programme listings in Genome. This is a historical record of the planned output and the BBC services of any given time. It should be viewed in this context and with the understanding that it reflects the attitudes and standards of its time - not those of today.

To read scans of the Radio Times magazines from the 1920s, 30s, 40s and 50s, you can navigate by issue.

Welcome to BBC Genome

Genome is a digitised version of the Radio Times from 1923 to 2009 and is made available for internal research purposes only. You will need to obtain the relevant third party permissions for any use, including use in programmes, online etc.

This internal version of Genome, which includes all the magazine covers, images and articles as well as the programme listings from the Radio Times, is different to the version of BBC Genome that is available externally/to the public. It is only available inside the BBC network.

Your use of this version of Genome is covered by the BBC Acceptable Use of Information Systems Policy and these terms.

BBC Guidance

This historical record contains material which some might find offensive
Continue Cancel