LLOYD POWELL (Pianoforte)
THE BREARLEY STRING QUARTET
1 Directed by JOSEPH MuscANT
From THE COMMODORE THEATRE, HAMMERSMITH
Mr. CHONG WAH : ' Chinese Dishes '
2.30 World History
Miss WINIFRED KNOX : ' Empires, Movements and Nations-Story IV, Eastward with Cross and Sword
3.25 FOR SECONDARY SCHOOLS
Mademoiselle CAMILLE VIÈRE : French Readings
-IV, La Chevre de Monsieur Seguin ,' from ' Lettres de mon Moulin ' (Daudet) (Hachette, 2s.)
From The Dorchester Hotel
GWLAD Y STRAEON
The Land of Stories
A Saint David's Eve Programme by ' CHWEDLEUWR '
Weather Forecast, First General News Bulletin; London Stock Exchange Report and Bulletin for Farmers
Solo works for wind instruments, played by members of the Orchestra
Mr Desmond MacCarthy
Professor Henry Clay: 'The Redistribution of Income by the State'
'Leap Year', a Fantasy by William Hubbard.
Music by H. Temple Abady.
With Vivien Lambelet, Nora Desmond, Eve Becke, Anthony Jaynes, Eric Anderson, Antony Eustrel, Violet Gould, Cecil Landeau, Doris Blagrove.
The programme includes also:
Barbara Couper, 'It's all too wonderful';
Jean Melville and Billy Thorburn at two pianos;
Mario Lorenzo, harp solos;
Michael Hogan in 'Fetching the Doctor';
Ina de la Haye, Ivan Barnett and Company in traditional Russian songs;
Mr Flotsam and Mr Jetsam.
The BBC Theatre Orchestra, under the direction of S. Kneale Kelly, will play during the programme.
Weather Forecast and Second General News Bulletin
Mr S.P.B. Mais
Miriam Licette (Soprano)
The Canadian Trio: Ida Nelson (Violin) ; Sara Nelson (Violoncello) ; Anna Nelson (Pianoforte)
Composed originally for Clarinet, Violoncello, and Pianoforte, this Trio is often played with the violin replacing the clarinet, which it can do quite satisfactorily here. Slightly built, like the three early Trios which make up Beethoven's Opus 1â€”the most wonderful Opus 1 in existence, as many call itâ€”it is all melodious and easy to understand, and it has the special interest of having its last movement based on a tune which Beethoven borrowed specially for the purpose. It is an old air, popular in its day, which would long ago have been forgotten but for his use of itâ€”a merry little tune on which Beethoven makes a series of fresh and wholesome variations.
DvoÅ™Ã¡k was the first to introduce the term 'Dumky' into music, and in a footnote to this Trio he explains it as a word of Little Russian origin which occurs frequently in popular literature. There it generally means a piece dealing with passionate emotion. In DvoÅ™Ã¡k's music a Dumka appears often as the name of a movement through which a sense of sadness runsâ€”usually a slow movement. The name of this Trio is the plural of Dumka, and the piece is a series of short movements, mostly of the order which he tells us that the name suggests. There are six altogether, independent of one another in their themes, and yet linked together in an unmistakable way, despite their variety. Full use is made all the way through of the 'cello's rich tone and of the melancholy which it can so easily express ; the 'cello partâ€”which was first played by DvoÅ™Ã¡k's old friend, HanuÅ¡ Wihanâ€”and the Trio were included in most of the concerts of the farewell tour which DvoÅ™Ã¡k gave before he went to America in 1892. It is a serious chamber work, but all through it has something of the simplicity of folk song, with moments of real gaiety alternating with its strain of sadness.
Ambrose's Blue Lyres, from the Dorchester Hotel