From page 26 of ' When Two or Three '
The Budapest String Quartet: String
Quartet in F, Op. 22 (Tchaikovsky); Minuet (Quartet No. 6) (Dittersdorf)
Directed by NORMAN AUSTIN
The New Victoria Cinema, Edinburgh
Leader, Alfred Barker
Conductor, T. H. MORRISON
Relayed from Westminster Abbey
Lessons, Isaiah xlix, 1-13; Ephesians iii; xiii, 4, 7
Magnificat and Nunc Dimittis
(Walmslcy in D minor)
Anthem, Lullay my liking (Holst) Carol, 0 little town of Bethlehem
Harold Dawber (organ) and the London Symphony Orchestra, conducted by Sir Hamilton Harty : Concerto for Orchestra and Organ in D (Handel, trans. Harty)
The B.B.C. Symphony Orchestra, conducted hy Adrian Boult : Suite No. 3, in D (Bach)—I.Overture; 2. Gavotte; 3. Air; 4. Bourrée; 5. Gigue
Gregor Piatigorsky (violoncello) and the London Philharmonic Orchestra, conducted by John Barbirolli : Concerto in A minor (Schumann)-I. Nicht zu schnell; 2. Langsam, Etwas lebhafter — Schneller ; 3. Sehr lebhaft
by STANLEY GUNN
St. Mary's Church, Nottingham
Directed by HENRY HALL
including Weather Forecast and Bulletin for Farmers
Under the direction of EDWARD J DENT
Played by ALICE EHLERS
Suite in D minor
1. Allemande; 2. Allegro; 3. Air; 4. Gigue; 5. Menuetto
Suite in G minor i. Allemande; 2. Courante ; 3. Gigue
A. LLOYD JAMES (Professor of Phonetics,
School of Oriental Studies, London)
or "Let's Sing Something"
Conducted by Stanford Robinson
"Part songs, single songs,
Patter songs and jingle songs,
P'r'aps a pretty ditty and a ballad that's a boon
High Brow! Low Brow! Even if you've no brow,
Dial for a trial of our toney type o' tune,
Entre nous ., (Me and you)
Not a bass'll bellow, nor a sobbin' sister croon!"
The CompÃ¨res: IVY ST. HELIER, DICK FRANCIS
The Singers: STUART ROBERTSON, ESTHER COLEMAN, JAN VAN DER GUCHT, HELEN CRERAR,
The Pianists: ALAN PAUL, WILFRID PARRY
Words and Music by various authors and composers, including the Producer and the Conductor
Production by GORDON McCONNEL
This concert party with a story is the revival of an idea first used in 1927. "Entre Nous" is written round a mistake in the booking of some artists for an imaginary hall. On the one hand Stanford Robinson thinks that a concert is to be given and engages platform artists, on the other, Gordon McConnel supposes the show to be a light variety entertainment and books music-hall artists.
The concert platform singers and the music-hall artists turn up. In the confusion that follows lies the humour behind "Entre Nous", but out of the chaos evolves a delightful entertainment.
Jan van Der
Many people are apt to dismiss Liszt's piano transcriptions of songs and orchestral works as being merely showy virtuoso music. This may be true of a small proportion, but the majority of his transcriptions are brilliant examples of ' re-creation '. For instance, if one did not know Schubert's ' Hark, hark, the lark ', Liszt's transcription might easily be. mistaken for original piano music, so cleverly has this song been translated in terms of the piano. And Wagner's Tannhauser overture is a tour de force, since Liszt. secures effects that are almost orchestral in colour.
Twenty Minutes of Memories
Presented by AUSTEN CROOM-JOHNSON with ' AUSTEN CROOM-JOHNSON
SONNY MILLER and ELISABETH WELCH
including Weather Forecast and Forecast for Shipping
Conducted by the Rev. W. H. ELLIOTT
St. Michael's, Chester Square
Rev. W. H.
THE LYRA QUARTET:
Gordon Walker (flute)
David Wise (violin)
Anthony Collins (viola)
John Cockerill (harp)
George Philip Telemann was contemporary with Bach, bom a little before and dying several years later than his more illustrious colleague. Not, however, more illustrious k) their day, for , Telemann- then was ranked far above Bach in general estimation. He has now fallen far behind, but, as a matter of fact, much of his music is well worth revival. He was a most fluent and prolific composer ; Bach's output was, as we know, enormous, but that of Tclemann was very nearly twice as much; a statement that would appear incredible were it not a known fact. With this fatal facility, and lacking the depths of thought and the genius of Bach, the greater part of Telemann's church music has passed into limbo, though one or two of his Passions survived his death for many years. But he left his mark on the music of the church in Germany for a long time following his death, and much of its shallowness over that period is held to be traceable to him-for Bach was for the time being forgotten, and his influence for good came much later. Telemann's chamber music, however, in the few examples that are now played, is as well made and entertaining as was most music of the kind in the early eighteenth century. Poetry 'A Summer Night', by Matthew Arnold Read by ROBERT SPEAIGHT
Jean Philippe Rameau , the great French composer contemporary with Bach, Handel, Domenico Scarlatti , and his countryman Couperin, was primarily an opera composer, carrying on the splendid tradition of his predecessor, Lully, who died a few years after Rameau was born. But Rameau wrote music in all forms, particularly harpsichord music of which, with Couperin and Scarlatti, he was one of the great exponents of his time.
'The Scholar Gypsy', by Matthew Arnold
Read by ROBERT SPEAIGHT
Lou PREAGER and his BAND.
Relayed from Romano's Restaurant