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Listings

: A Light Classical Concert

MARTIN BODDEY (Tenor)
THE Rondo PLAYERS :
SONIA MOLDAWSKY (Violin) ; DAVID SISSERMAN (Violoncello) ; VERA WISE
(Pianoforte)

Contributors

Violin: Sonia Moldawsky
Violin: David Sisserman
Pianoforte: Vera Wise

: THE Commodore GRAND ORCHESTRA

Directed by JOSEPH MuscANT
From THE COMMODORE THEATRE,
HAMMERSMITH

Contributors

Directed By: Joseph Muscant

: HINTS FROM OTHER COOKS-VII

Mr. Rown DOUGLAS : ' Some Italian Dishes'

Contributors

Unknown: Mr. Rown Douglas

: FOR THE SCHOOLS

RECEPTION TEST

: World History

Miss WINIFRED KNOX: Empires, Movements and Nations—Story III , The Northern Raiders '

Contributors

Unknown: Story Iii

: FOR SECONDARY SCHOOLS :

Mademoiselle CAMILLE VIERE : French Readings —III, Selections from An Anthology of French
Verse-From Villon to Verlaino '
(This book, edited by Ritchie and Moore, is published by Dent, price 3s. 6d.)

Contributors

Unknown: Mademoiselle Camille Viere
Unknown: Verse-From Villon

: A Sonata Recital

Reginald Kell (clarinet)
Gilbert Vinter (bassoon)
Piece for clarinet and bassoon (unaccompanied)...Beethoven
Allegro sostenuto; Aria con variazioni
Sontata for clarinet and bassoon (unaccompanied)...Poulenc
Vif (lively); Romance (Andante très doux); Final (très animé)
3.45-4.15 A Television Transmission by the Baird Process will take place during this programme. (356.3 m. Sound; 261.3 m. Vision)
A member of the group of young Paris composers who banded themselves together as 'The Six,' Poulenc has remained more faithful than most of them to its original watchword —'simplicity'. That is largely why he enjoys writing music like this, whose two voices have an effect of loneliness to ears accustomed to fuller harmonies. But the contrast between the two tone-qualities is exploited in the most ingenious and fascinating way, and each part is full of quite obvious melodies. And if these strike the hearer as having more independence than relation one to another, that comes from Poulenc's avowed hostility to the way in which harmony had become the servant of vague impressionism like Debussy's.

Contributors

Clarinet: Reginald Kell
Bassoon: Gilbert Vinter

: MOSCHETTO and his ORCHESTRA

From THE DORCHESTER HOTEL

: The Children's Hour

Various Songs sung by FREDERICK GRISEWOOD
' The Stop Me and Buy One Wizard,' another
Norman Hunter Story
Some Pianoforte Solos played by CECIL DIXON ' Oporto,' a Travel .Talk, written and told by DEREK MCCULLOCH

Contributors

Sung By: Frederick Grisewood
Unknown: Norman Hunter Story
Played By: Cecil Dixon
Told By: Derek McCulloch

: 'The First News'

WEATHER FORECAST, FIRST GENERAL
NEWS BULLETIN ; London Stock Exchange Report and Bulletin for Farmers

: The Foundations of Music

THE STRING QUARTETS OF BRAHMS
Played by THE STRATTON STRING QUARTET
Quartet in C Minor
First and Second Movements

: ' NEW BOOKS '

Mr. DESMOND MACCARTHY

Contributors

Unknown: Mr. Desmond MacCarthy

: 'HOW THE STATE MET THE CHANGE ? '

'How far are Governments organized to deal with Economic Affairs ? '

: Vaudeville

Film Burlesque No. I.
'Carnival' or, Fun on a Venetian Balcony by C. DENIS FREEMAN
With a stupendous all-star cast, including Romeo and Juliet, Pelleas and Melisande, two Venetian blinds, five Catherine wheels and two hundred Roman candles.
REGINALD GARDINER will broadcast further familiar noises
From Revue to Grand Opera, No. 3
THE STUDIO CHORUS IN MEDLEY
EDDIE AND REX Syncopated Songs I
' French As She Is Learnt' by E. F. WATLING
JOHN CHARLTON
Entertainer
THE B.B.C. THEATRE ORCHESTRA, under the direction of S. KNEALE KELLY , will play during the programme

Contributors

Unknown: C. Denis Freeman
Unknown: Reginald Gardiner
Unknown: E. F. Watling
Unknown: John Charlton
Unknown: S. Kneale Kelly
Soprano: Samia Bingham
Tenor: Trefor Jones

: 'The Second News'

WEATHER FORECAST, SECOND GENERAL NEWS
BULLETIN

: ' THE UNKNOWN ISLAND '—VII

Mr. S. P. B. Mais

Contributors

Unknown: Mr. S. P. B. Mais

: Chamber Music

ANNE THURSFIELD (Mezzo-Soprano) THE KUTCHER STRING QUARTET :
SAMUEL KUTCHER (Violin); FREDERICK GRINKE (Violin); RAYMOND JEREMY (Viola); DOUGLAS
CAMERON (Violoncello)
IN the early part of 1785, soon after his twenty-ninth birthday, Mozart had a visit from his father, in Vienna. On the second day after his arrival, Haydn was a guest of the house, and three new quartets were played, the second half of a set of six which Mozart had dedicated to him, calling him his dear friend and master. Haydn had just as sincere a regard for the younger man, and it was then that he paid him the famous tribute, telling the proud father : ' I declare to vou before God and as an honourable man, that I recognize your son as the greatest composer of whom I have ever heard.' This was the first of the three quartets played that evening. It has always been a favourite with players and listeners alike, and is one of the few on which a name has been 'bestowed. From a resemblance of the beginning of the first movement to the call of a hunting horn, it is known as the Hunt Quartet. That and the last movement are brimming ovor with Mozart's gayest spirits: the Minuet comes second, and the slow movement, more serious in mood, is one of his most beautiful Adagios.
FROM the way in which Beethoven makes beautiful effects from Pizzicato (plucked strings), this Quartet has always been affectionately known as The ' Harp' Quartet. It belongs to a period when things about him were going as unhappily as they well could. The Court and aU his important friends had left Vienna, and the tragic affliction of his deafness was beginning to be seriously felt. Some of the sadness which can bo heard in this music may well be a reflection of his own depressed spirits.
The Quartet begins with a sad phrase on all four instruments, like a question to which there is no answer. The main part of the movement, strong and energetic, forms a striking contrast with the introduction, and that, too, is eminently characteristic of the great Beethoven. The slow movement is in a tender and wistful strain, but it, too, has its moments of passionate energy. The chief theme of the next movement recalls the rhythm of the fifth Symphony's first movement and the change to major, with the impetuous rushing passage for the violoncello, is not unlike another part of that Symphony. Without a break, we pass to the last movement, an Allegretto with variations. The theme is in two parts, each of which is repeated and the variations follow in similar form, alternating between the strong and vigorous moods of the first three movements and their thoughts of melancholy. The end of the movement is a strenuous fortissimo for all the instruments, closed by two soft final chords.

Contributors

Violin: Samuel Kutcher
Violin: Raymond Jeremy

: DANCE MUSIC

AMBROSE'S BLUE LYRES, from THE
DORCHESTER HOTEL








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