At The Organ of THE Trocadero
ClMEMA, ELEPHANT AND CASTLE
From THE PICCADILLY HOTEL
By CHRISTOPHER STONE
2.30 English Literature
Mr. S. P. B. Mais: 'More Books I like-III,
3.0 Biology and Hygiene
Professor WINIFRED CULLIS , C.B.E. : 'Your Body Every Day-III, How the Body is Made
3.25 East Anglian Herring Fishing Bulletin
Conductor, Sir DAN GODFREY
FRANK MERRICK (Pianoforte)
From The PAVILION, BOURNEMOUTH
Symphony, No. 1, in C .. Beethoven
1. Adagio molto, Allegro con brio; 2. Andante cantabile con moto ; 3. Menuetto ; 4. Adagio, Allegro molto vivaco
FRANK MERRICK and Orchestra
Concerto, No. 1, in D minor Brahms
1. Maestoso; 2. Adagio; 3. Allegro non troppo, Rondo
At THE ORGAN of THE GAUMONT PALACE CINEMA,
'THE NUBIAN SLAVE' from' The Talisman'
(Sir Walter Scott )
With Incidental Music by Genial Jemima
WEATHER FORECAST, FIRST GENERAL NEWS
BULLETIN and Bulletin for Farmers
VIOLIN SONATAS OF HANDEL and CORELLI
Played by ORREA PERNEL
Accompanied by KATHLEEN MARKWELL
Mr. JAMES AGATE
Sir ROWLAND BIFFEN , F.R.S. : ' The Future of British Wheat'
THE former Professor of Agricultural Botany at Cambridge University gives the first of soveral talks on the British Wheat question, in the new autumn series of practical farming talks.
The Right Hon. Lord MACMILLAN : 'What the Law is—III, The Content of the Law'
LORD MACMILLAN concludes his introductory talk on the general nature of the law with an examination of the extent it covers human conduct. The law embodies the rules that govern men as social beings, but has no say in their individual moralities, loyalties, and beliefs. This clear statement of the scope of the law, its criminal and civil definitions, and its limitations, will clear up many misconceptions, and give an easy approach to the series of talks that follows on the practical functioning of the law of the land.
Directed by HENRY HALL
WEATHER FORECAST, SECOND GENERAL
NEWS BULLETIN, followed by Topical Talk
PARRY JONES (Tenor)
THE B.B.C. ORCHESTRA
(Led by LAURANCE TURNER )
Conductor, ADRIAN BOULT
THE Gabrieli family was an important one in Italian music in the 16th century. The outstanding members were Andrea, and his nephew Giovanni, composer and organist, who was born in. Vienna in 1557 and never left it till his death in 1612, though his fame as teacher seems to have been world-wide.
Henrich Schutz and Michael Praetorius were among his faithful pupils. He was a contrapuntist of extraordinary powers and lie once wrote a motet in 19 independent parts.
THIS favourite air is sung in the oratorio of Jephtha. Jephtha, Captain of the Israelites at war with the Ammonites, has made a vow that if God gives him victory he will offer up as a sacrifice whoever first greets him on his return. He is victorious and the first to come out of his house in welcome is his beloved daughter. Jephtha is stricken with horror, but his daughter implores him to fulfil his vow, for she declares that the price of her life which she is glad to surrender in such a causa is little to pay for the freedom of the Israelites. It is in this Recitative and Aria that Jephtha expresses his deep' grief while preparing to offer up his daughter.
IT was Mendelssohn himself who. gave the title to this symphony, which he called Scots because it had to do with a visit to Scotland. He did not write it, however, until he left the country. As a matter of fact, much of it was written much later, in Italy, and there are many references in his letters from Scotland to the idea of writing such a symphony, which was then forming in his mind. He pays a visit in the twilight to Holyrood Palace, conjures np a vision of Bizzio's murder; he views with emotion the broken altar: ' AH is dilapidated and decayed there, and the serene heavens shine into it. I believe I have found there today the beginning of my Scots Symphony.' Fortunately, Mendelssohn appears later to have mislaid a good deal of the twilight mood, for it "would be difficult to find a bar of it in the symphony itself.
THIS is a setting of Edward Thomas 's poem for a high voice and four trumpets, an unusual but effective combination. The poem is an estatic tribute to the beauty and vigour of morning, of the ' earth new born,' that is 'lovelier than any mysteries.'
BRAHMS was not, of course, the first composer to have the idea of working into an orchestral piece of music constructed on classical lines a number of melodies which had definitely other associations. As long ago as Tudor times fantasies were made up of familiar tunes. There are, for example, the Fantasies on the Cries of London by Gibbons, Weelkes, and Dering, and there is scarcely a composer in subsequent history who has not drawn many of his tunes from the people. So Brahms is doing nothing unusual in taking a number of students' songs and making an overture of them. A good deal is made of the fact that he actually wrote this overture as a thesis for his Doctorship of Philosophy at Breslau in 1880, but considering that the tunes he used were extremely good tunes and that he could scarcely have bettered them himself, one finds it difficult to understand why it has always been described by Brahms' biographists as an amusing thing to have done. Anyhow, nothing prevents it from being a splendid overture, as spirited and convivial as a. students' sing-song, from which Brahms purloined many of his melodies which make up the overture.
RoY Fox and his BAND, from
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