From Page 18 of ' When Two or Three
J. C. A. WILLIS—A Window-cleaner
At The Organ of The Trocadero
Cinema, Elephant and Castle
Relayed from The Granada,
by O. H. PEASGOOD
From The Concert Hall, Broadcasting
Orchestre Raymonde : Delibcs in Vienna
Pilar Arcos (soprano) with Orchestra :
Paso Doble , Sing Guitar (Villajos)
Orchestre Raymonde: Tchaikovsky in Vienna
Mario de Pietro (mandoline) : Tarantella Giocosa (De Pietro)
Orchestre Raymonde : Invitation to the Dance (Weber); Polonaise Militaire (Chopin)
Pilar Arcos (soprano) and Orchestra :
Claveles de Andalucia (Mart)
Orchestre Raymonde : Musical Snuff Box (Liadov)
Your Club Activities
The talks on Club activities which have been given regularly since October have proved of great interest to Clubs and centres everywhere.
Owing to the popularity of these talks,
Mr. John Newsom has been appointed to act as the B.B.C.'s correspondent. His duty will be to travel round the country and keep in touch with Clubs. Each week he will come to the microphone and will bring Club leaders and others who have something of interest to say. Today Mr. Newsom is to introduce himself.
RICHARD AUSTIN MOISEIWITSCH (pianoforte)
The Pavilion, Bournemouth
Directed by JOHN MACARTHUR
Directed by HENRY HALL
including Weather' Forecast and Bulletin for Farmers
G. K. CHESTERTON
Under the direction of EDWARD J. DENT
Played by ALICE EHLERS
Suite in F (First Collection, No. 2) i. Adagio; 2. Allegro; 3. Adagio; 4. Allegro (Fuga)
Suite in E (First Collection, No. 5)
1. Prelude; 2. Allemande; 3. Courante; 4. Air (con variazioni)
From the Concert Hall, Broadcasting
G. THALBEN BALL
Fantasy and Fugue on the Choral, Ad nos, ad salutarem undam
Introduzione ed Inferno, Canzona,
Fuga con Corale, Jesu, meine Freude (Jesus, my Joy)
Sonata Eroica (In one movement)
One of three Symphonic Chorals, each based on a hymn of which the tune provides the subject matter and the words the programme, this, the second, is built upon a choral familiar as the one used by Bach in one of the motets.
The first movement pictures a ' Vision in Inferno-anguish, torment, remorse, and sorrowful longing ', in the words of the composer. The melody of the choral is here heard only for a moment.
The second movement, Canzona, is on the verse ' My delight is in Thee '. Here the melody of the choral is elaborated in the curious and richly-ornamented style of the builders of the Middle Ages, in which they sought to express the glorification of Jesus through the most delicate arabesques and decorative work '.
In the third movement the choral is woven into the fabric of a fugue. The motive of ' the sou! which penetrates through the night of existence to the light of the only true knowledge ' leads us to the choral ' Jesu, Joy and Treasure ', and, following a splendid coda, the choral subject, ' Jesu, my Joy ', stands out in full majesty.
Joseph Jongen , a Belgian well known in this country during the years of the War, is mainly a composer of chamber music, though he has written a few organ pieces of a distinction fully equal to that of his pianoforte music. This work, ' Sonata Kroica is his biggest work for the organ, and was published as late as 1932. In form, it is in the orthodox three movements, but the whole is played through without a break. Jongen's harmonic scheme is of singular originality, and is well suited to the tone colour of the organ.
The first part of the famous meta -biological pentateuch by BERNARD SHAW
For this broadcast Mr. Shaw has written a special link to join the end of the scenes in the Garden of Eden to the re-appearance of the ghosts of Adam and Eve at the very end of the pentateuch as far in the future as thoughts can reach.
Produced by CECIL LEWIS
including Weather Forecast and Forecast for Shipping
Led by LAURANCE TURNER
Conducted by JOSEPH LEWIS
HENRY WENDON (tenor)
Lucio Silla is an early opera of Mozart's, written in Milan in 1772. Mozart was then sixteen, with half a dozen operas already to his credit. Lucio Silla was naturally composed on the Italian model, and it pleased the people of Milan before whom it was performed more than twenty times in that season. The overture is a full length work written with any amount of spirit, but it has, of course, little chance in the repertory against the other overtures of Mozart's maturity.
Tchaikovsky prefaces his score of Mozartiana with the following note: ' A great number of most admirable little compositions of Mozart are, for reasons which appear to me incomprehensible, very little known hot only to the public but to the majority of musicians. My idea in arranging several of these numbers under the title of Mozartiana is to give a new impulse to the performance of these little master-pieces, which show incomparable beauty in every line and feature '.
Roy Fox and his BAND