Although party organization for electoral purposes was not especially the work of Joseph Chamberlain (Peel had begun it after 1832; and the Conservatives after 1868 revived the idea) he may aptly be taken as the best figure to associate with this subject. Not only did he make the Liberal headquarters so much the more vigorous of the two that the caucus and Birmingham were always thought of together by the late Victorians, but he also saw quickly how the tendency to idolise the individual ought to be used in electioneering. This is the concluding talk in Mr. Gretton's series during the course of which an attempt has been made to assess the differences that have arisen between the House of a century ago and the House of today, by taking six great Victorian statesmen and summarizing the changes which coincided with their periods of power.
THE PERFECTION Soap WORKS BAND
Conducted by F. V. LLOYD
S.B. from Manchester
JOHN TURNER (Tenor)
From the London Studio
BAND March, The Washington Grays - Graffula
Overture, ' The Merry Wives of Windsor ' - Nicolai
Euphonium Solo, Un Reve d'amour' ('A Dream of Love') (Soloist, W. COLLTER) - Millars
JOHN TURNER Nirvana - Stephen Adams
I hear you calling me - Marshall
BAND I Selection, ' La Poupee (' The Doll ') - Audran
Humoresque, 'Three Blind Mice' - Douglas
! JOHN TURNER Sweet Early Violets - Sherington
Thank God for a Garden - del Riego
I did not know - Trotère
BAND Selection, ' L'Africaine ' - Meyerbeer
FERNANDO AUTORI (Bass)
THE WIRELESS SYMPHONY ORCHESTRA
(Leader, S. KNEALE KELLEY )
Conducted by JOHN BARBIROLLI
ROSINA, the charming little heroine of The
Barber of Seville, has a grim old guardian, Bartolo, who would fain marry her himself. But he knows there is a young and handsome suitor in the offing, and takes counsel with his old friend Basilio. It is he who advises him to spread a rumour that the young admirer, Count Almaviva, is a worthless fellow, and in this delightfully comic aria, explains how calumny begins like a gentle zephyr and grows in strength to become a very tempest. The music fits the text in the most mirth-compelling way.
THIS music was first presented in a very now and striking way. The performers were shut off from the audience by a curtain which represented an enormous mask, with open mouth ; it was the large end of a megaphone, through the other end of which an unseen reciter spoke Edith Sitwell 's poems. The first, speaker was the poet herself. The speaking was accompanied by Walton's music for a small team, which was also out of sight behind the curtain, and the effect was a very striking one. That was in 1923, the same year in which Walton had the distinction of having a string quartet chosen for performance at the International Festival at Salzburg; he was then only twenty-one. Since its first performance, the music of Facade has been considerably revised, and recently an orchestral Suite has been made of it which is of quite sufficient interest to stand on its own feet without the poems. In this form it is often played as an Interlude by the Diaghileff Ballet.
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