by MARJORIE RENTON
Organist and Director of the Choir, Chelsea
Relayed from St. Mary-Ie-Bow Church
Prelude, Intermezzo, Religious March
BACH, played by SIDNEY HARRISON (Pianoforte). MURRAY LAMBERT
(Violin), and JOSEPH SLATER (Flute)
From ' Musical Offering':
Sonata for Flute, Violin and Piano, Movements
Three and Four
Canonic Fugue for Violin and Piano
THE THIRD MOVEMENT of the Sonata is an expressive slow one, in which Bach treats pome motifs from the three-part Fugue we heard on Wednesday. The Flute and Violin first start duetting sweetly, the Keyboard supporting, and then in turn introducing the more significant reminiscences of the Fugue.
In the LAST MOVEMENT Bach throws the King's tune into a dancing rhythm and builds a vivacious Fugue on it, working up the liveliness so that at the end all three instruments are going at full pelt.
The last piece that we are to hear is a Fugue in canon form (still on the King's theme), in which the Keyboard instrument is joined by another (Bach does not say what it is to be, but tonight the Violin will be used).
The Canon, or exact copy, is between the Violin and the Pianoforte's right hand, whilst the Pianist's left hand does not copy anything, but plavs its part in building up the Fugue, and near the end gives out the theme as a bass, in full form.
LAST week Mr. St. John Ervine introduced the subject of playmaking and a sense of the theatre. This evening he will begin to particularize, and give some elementary instruction to the aspiring playwright, warning him particularly of certain errors to avoid. The playgoer who wants to have an intelligent and well-informed basis for criticism will also be able to profit by thia talk.