Relayed from The QUEEN'S HALL
(Sole Lessees, Messrs. Chappell and Co., Ltd.)
THE B.B.C. SYMPHONY
(Principal Violin, CHARLES
Conducted by Sir HENRY WOOD
DORA LABBETTE (Soprano)
ORREA PERNEL (Violin)
KATHARINE GOODSON (Pianoforte)
A Dance Rhapsody (No. i)
MAKING its first appearance at the Festival at Hereford in 1909, when its composer was forty-six, the first Dance Rhapsody has always been, and deservedly so, among the most popular of Delius' purely orchestral works. There is a short introduction, in which we are given a foretaste of some of the tunes which are to be used in building it up. The oboe, the flute, and the horns, in turn, liave the chief shares in the statement of the themes. There follows a section in quicker tempo, where a new tune is heard, on the lower strings and bassoons, while soon afterwards the violins, playing in octaves, give us still another now theme. These are all worked out at some length, with constantly varied interest, and then we hear again the dance tune which the oboe played at first, now on the flute and clarinet. The music rises to a climax and then makes way for a slow section. The theme of this is again the first tune, now played by first violin alone, with accompaniment from the other strings. But the bustling mood of the first part returns, and the Rhapsody comes to an end with great strength and vigour.
DORA LABBETTE and Orchestra
Twilight Fancies Sweet Venevil
ORREA PERNEL and Orchestra
Violin Concerto fTUIERE would seem to be that -L about a violin concerto which either too seriously taxes the resources of a composer or completely exhausts his inspiration. So many of the groat ones, having dutifully given to the world one work of this kind, do not repeat the effort. Beethoven, Mendelssohn, Tchaikovsky, Elgar, and Delius all have but one concerto for violin and orchestra to their credit, and there must obviously be some significance in the fact. Each of them must well have known that the virtuoso's, no less than the public's, appetite grows with what it feeds upon. Listeners can now judge for themselves whether this creative reticence is not as regrettable with Dolius as with any of the others.
A Song of Summer
THIS most recent work of Delius, which is to have its first -performance tonight, was composed in 1929-30. There is the poignant fact about it, that the recording of the composition on paper was made necessarily by dictation. It is scored for full orchestra. The work opens in a mood of contemplation, characteristic of the composer. In a sustained background of strings little snatches of melody in the woodwinds weave themselves into the harmonic texture of the early mood, about which a solo violin plays wistfully a tune which heralds a theme which is presently to assume supreme importance. The music broadens out into a strenuous passage for the full orchestra, whioh leads into one of quieter beauty. Further development merges into the appearance of a long-withheld theme which, growing in intensity, finds its climax in rich harmonies in the brass, to end serenely in the strings.
KATHARINE GOODSON and Orchestra
DELIUS was thirty before his first work was given to the public, and after eleven more years only twu others had seen the light. Thin concerto is work number three in order of appearance. Composed in 1897, it lay for seven years
.. on the shelf, waiting for a first performance, or, more truthfully, waiting for Delius himself to lift the ban of his own remorseless criticism. which, in effect, was not definitely lifted until after a full and Second revision in 1907. It is characterist ic of such men as Delius, Vaughan Williams , and a regrettably few others to realize that music, like wine, is all the better for being matured in . the wood before it is bottled for consumption.
An English Rhapsody, Brigg Fair