' Meat from Stove to Table '
Mrs. ARTHUR WEBB : ' Pot Roasts '
There is a mistaken notion, often given wide publicity, that the time at which morning talks are given is an unsuitable one for the audience for which they are intended. The most recent proof that this is not the case is the arrival at Broadcasting House of 20,000 odd applications for recipes as a direct result of the autumn cookery series. Letters support this. Paradoxical as it may sound, the people who really work are quite ready and able to afford fifteen minutes to listen to something they really want to know.
At The Organ of The Granada, Tooting
Directed by Joseph Muscant
From The Commodore Theatre, Hammersmith
(By permission of the Savoy Hotel, Ltd.)
George Roth (Violoncello)
Victor Hely-Hutchinson (Pianoforte)
'POMONA IS Busy '
A Dialogue Story, by W. M. LETTS
With Incidental Music played by ERNEST LUSH
WEATHER FORECAST, FIRST GENERAL NEWS
BULLETIN and Bulletin for Farmers
Sung by LILY ZAEHNER (Soprano)
Frühlingstraum (Dream of Spring) Der Wanderer (The Rover) Der Traum (The Dream)
Fischerweise (Fisherman's Song) Wiegenlied (Cradle Song)
Schweizerlied (Words by Goethe in Swiss Dialect)
(Charles Dickens )
Conductor, B. WALTON O'DONNELL
(Christmas Season, 1932-3)
MAGGIE TEYTE (Soprano)
ARTHUR DE GREEF (Pianoforte)
THE B.B.C. SYMPHONY ORCHESTRA
(Principal First Violin, CHARLES WOODHOUSE)
Conducted by Sir HENRY WOOD
Relayed from The Queen's Hall, London
(Sole Lessees, Messrs. Chappel and Co., Lid.)
Vaughan Williams has composed three symphonies, but as the earlier ' Sea' Symphony is largely choral, the ' London,' the second in order of composition, becomes the first of the two purely orchestral symphonies, the later one being the Pastoral.' As its name implies, the ' London ' Symphony is an impression of the city; not, however, a descriptive impression in the sense of being constructed on a programme which the listener can follow incident for incident, but a wider survey of the life and spirit of London as they strike a sensitive, observant Londoner. A better title, as the composer has himself said, would be ' Symphony by a Londoner,' an impressionistic record reduced to music of the familiar sights, sounds, and flavour of the city as experienced by any one of its citizens. For example, at the opening of the first movement a slow-moving passage might clearly illustrate the morning haze over the city, the chimes of Westminster, the gradual waking to the energy, bustle and strife of a citizen's working day. The second, the slow movement, is quieter and illustrates an altogether different phase of London life ; while the third movement, the Scherzo, might easily be a picture of London by night-a characteristic blending of gaiety, sadness and mystery. In the fourth movement, the finale, we are brought to realize the majesty and solemn grandeur of the great city.
(Tickets can be obtained from the British Broadcasting Corporation, Broadcasting House, W. 1 ; The Queen's Hall, Langham Place, TV.1 ; and usual Agents. Prices, including Entertainments Tax : 7s. 6d., 6s., 5s. (Reserved) ; 3s. (Unreserved) ; Promenade (Payment at doors only), 2s.)
, at 0.0
WEATHER FORECAST, SECOND GENERAL NEWS
Conductor, Stanford Robinson
At the Piano, Ernest Lush
(Johannes Brahms )
' A merry, cheerful piece of nonsense, which here in our small circle has been sung and received with pleasure,' wrote Brahms to his friend, Elisabet von Horzogenberg when he sent her a copy of these songs in 1888. The small circle he speaks of was a social club in Vienna called Kipfeljause, most of the members of which were close friends of Brahms. The quartet version of the Zigeunerlieder was first sung at this club from manuscript copies and gave extreme pleasure. After the songs were published they spread so rapidly all over Germany that Brahms later arranged some of them for a solo voice and pianoforte, and wrote four others to add to the quartet version of the first eight. Brahms knew the Hungarian gypsy idiom very well, and he had from a youth been greatly attracted to gypsy music. Yet, in these songs, there is little trace of the definite use of original gypsy folk-tunes; rather has Brahms adapted the gypsy character to original music of his own. He had the idea of writing them in the first place from seeing a collection of authentic Hungarian folk-melodies to German words translated from the original. It is characteristic of Brahms that he borrowed for his purpose the words as they stood, but found little to help him in the original melodies except a stimulus to create his own.
LEW STONE and THE MONSEIGNEUR BAND, from
(Shipping Forecast at 11.0)