DIALOGUE can make or mar any play, and whilst it is true that a tremendous plot full of action does occasionally triumph over weak dialogue, it is equally true that brilliant dialogue is constantly carrying thin plots to success. Mr. St. John Ervine will today talk of this branch of the playwright's art, with illustrations from various plays.
Conducted by GEOFFREY TOYE
Relayed from the People's Palace, Mile End
Roy HENDERSON (Baritone)
QOME of the loveliest music of this century
was left us by Georgo Butterworth , who (like many young English composers) was killed in action in France, in August, 1916. His music tells plainly that he had deep within him the rapture and tranquillity of the English countryside.
Of his small output two song-cycles and this orchestral Rhapsody are founded on A. E. Housman 's poem-cycle, A Shropshire Lad. The song-cycles are, of course, settings of certain of the poems, whilst the Rhapsody is a sort of epilogue to the song-cycles—areverie,perhaps, on the whole of ' A Shropshire Lad.'
BRIGG FAIR is an English folk-song which
Dolius has Tnade the basis of an orchestral
Rhapsody. He has prefaced his score with the words of the ballad. This is the first verse :
It was on the fift' of August, The weather fine and fair ;
Unto Brigg Fair I did repair For love I was inclined.
The Rhapsody is scored for a largo Orchestra. The Introduction (Slow. Pastoral) consists mainly of little arabesques on Flutes and Clarinets, suggestive of bird songs. The Tune is then given out as an Oboe Solo, with light choral accompaniment of Woodwind and pizzicato (plucked) Strings. The rest of the work consists of almost continuous variations on the Tune.
TWELVE Great Concertos (Concerti Grossi), of which this is the seventh, were written 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 confisted of two Violins and a 'Cello, 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.
Of his seventh Concerto Grosso we are to have four 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 demonstrates how delightful it is when used by a real artist as one piquant element in a work, instead of by vulgarians as the sum and substance of their shallow thought.
'The True History of Mr. Punch and his Family'
Written and Presented by W.S. MEADMORE and L. DE GIBERNE SIEVEKING
Prologue sung by LEYLAND WHITE (Baritone)
Music by VICTOR HELY-HUTCHINSON .
Mr. Punch of England - W.S. MEADMORE and W. H. JESSON (the oldest Punch and Judy Showman alive)
A Passer by. A Mother. Voices. '
Of all the street shows and open-air theatres from which the drama as we know it sprang, the Punch - and - Judy show alone survives. And even it is fast vanishing : one is lucky now in London to hear round the next corner the historic screech of Punch and the whacking of his stick, and to come upon the little knot of errand-boys and rather shamefaced adults, clustered around the familiar faded proscenium on the ledge of which a bored Toby yawns at the show. As tonight's programme will reveal, Punch has a long and distinguished ancestry ; but those who think that he. himself is the flower of his race will be glad to hear this programme is not altogether historical, and that a real, genuine, street Punch-and-Judy show is to come before the microphone tonight.
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