BEETHOVEN'S PIANOFORTE SONATAS
Played by EDWARD ISAACS
Sonata in C Minor, Op. 10, No. I
Molto Allegro e con brio; Molto Adagio; Finale (Prestissimo)
THIS is already on a noticeably bigger scale
-L than the Sonata played yesterday evening, although it does not take much longer in actual performance. It, too, begins its first principal tune with the notes of the common chord loaping restlessly upwards, and the second subject is in striking' contrast, broader and more smoothly flowing.
The chief tune of the slow movement, which comes next, repeats one phrnso, tho second time a note higher in tho scale ; Beethoven's early fondness for turns and ombellishments is evident in this movement too.
The last movement-there arc only three—is ft short Prestissimo whose principal tune is heard at the outset; again the second subject is bigger and more solid, and the working out of the movement is quite orthodox, except that just before the end there is an unexpected pause, after which, we pass into a vigorous little Coda'
IN his second talk Professor Tumor procoods to cover the development of glass for utilitarian purposes—medicinal, industrial, and scientific. From this he comes naturally to the manufacture and value of optical glass, which may be said to have served through its agency to define man's place in the universe.
JOHN THORNE (Baritone)
EILEEN ANDJELKOVITCH (Violin) GREGORI TCHERNIAK (Balalaika)
THE WIRELESS ORCHESTRA
Conducted by JonN ANSELL
THE Gopak is a lively Russian dance with two beats in the bar, one which it is easy to think of as being danced by Russians in the open air with their winter boots on. It is full of that kind of energy which suggests strenuous exercise amid the cold of winter. The Fair of Sorotchinsk, from which this one is taken, is an opera founded on one of Gogol's Russian stories; Moussorgsky left it unfinished at his death. The dance begins with a few introductory bars, and then the lively tune is taken up by woodwinds and violins with the other strings accompanying, pizzicato. It grows to a boisterous climax and then dies away quietly without slackening speed.
A Comedy in Two Acts by G. Martinez Sierra.
The English Version by Helen and Harley Granville-Barker
Mariana, Senora Andrea, The Apprentice, Carmen, Lola, Julieta, Nati, Jose Maria, Senor Ramon, a Reporter, Senor Julian, a Post-man, Various Neighbours
The reputation of the Spanish dramatist, Sierra, is now European. The setting of his plays are, naturally, Spanish, but their homeliness and sincerity need only translation to appeal to an international audience.
Wife to a Famous Man, which was first performed in Madrid in 1914, contains a moral which has universal application. In the words of the author, 'when a woman truly loves a man - whether he is a hero or whether he's a scoundrel - she's bound to suffer for it.'
In particular, the play is dedicated to '.... that admirable thing, unspoiled, sound as a ripe nut, sweet, but not too sweet, "Manola " - the working women of Madrid.'
I The ironing room of a Laundry in the Calle de Madera, Madrid
II The living room behind the Laundry
III As in Scene I
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