@ From page 90 of ' When Two or Three'
C. J. S. THOMPSON , M.B.E., Ph.D.
This is the first of six talks by one who has lived to see three Jubilees. He was present at both Jubilees of Queen Victoria, and this morning he will describe that great day in June, 1887, when she had been Fifty Years 8 Queen. During the series Dr. Thompson will describe the changes in the lives of the people since then.
. German Talk
I—' Auf Besorgungen im Warenhaus '
OTTO G. LEWALD , Dr.Jur.
by MARSHALL M. GILCHRIST
Relayed from St. Machar's Cathedral, Aberdeen
Larghetto, Allegro (Organ Concerto No. i, in G minor) - Handel
Tuba Tune - C. S. Lang
Cantabile Symphony No. 6) - Widor
Triumphal March - Hollins
Adolf Busch (violin) and Rudolf Serkin (pianoforte): Grand Fantasia in C, Op. 159 (Schubert)
Cortot (pianoforte): Waltzes (Chopin) ; No. i, in E flat, Op. 18; No. 2, in A flat, Op. 34, No. 1 ; No. 3, in A minor, Op. 34, No. 2 ; No. 4, in F, Op. 34, No. 3 ; No. 5, in A flat, Op. 42
Leader, Bernard Reillie
Conducted by KNEALE KELLEY
WILFRED THOMAS (baritone)
The Practice and Science of Gardening '—2
B.A. KEEN , D.Sc.
'Trade ties the World together!
(Professor of Economic History in the University of London)
Last week Professor Eileen Power told you how the Barbarians, settling down in Europe, became civilised, and built up between A.D. 1000 and 1500 a great culture. Today she is to tell you how trade tied the world together. She will describe the great trade routes between East and West: the land road from China across Central Asia to the Black Sea, and the sea road from China to India, and then across the Indian Ocean and by land over Persia or Egypt to the Mediter ranean. So for a time peace and prosperity came hand in hand with silks and spices to a Europe that had grown weary of incessant war.
The Leipzig Gewandhaus Wind
Quintet: Divertimento No. 14, in B for flute, oboe, clarinet, bassoon, and horn (Mozart).
Jelly D'Aranyi (violin), Felix Sal mond (violoncello), Myra Hess (pianoforte): Trio No. i, in B flat, Op. 99 (Schubert)-i. Allegro moderate ; 2. Andante un poco mosso ; 3. Scherzo: 4. Rondo : Allegro vivace
Early Stages in German
A. H. WINTER, assisted by M.-E.
LILLY PHILLIPS (violoncello)
ANNE MUKLE (pianoforte)
In 1906 William Yeates Hurlstone died at the age of thirty. He had already proved himself a highly gifted composer and one of the most promising of the younger British school. Hurlstone's first work was a set of ' Five Valses ' for piano, which were published when he was only nine years of age. At eighteen he won a scholarship at the Royal College of Music and studied composition under Stanford for several years. Among Hurlstone's handful of chamber music, for which branch of composition he possessed a distinctive flair, is the early D minor Violin Sonata, which is a graceful piece of writing and a charming piece of music.
Conductor, T. J. POWELL
WILFRED MILES (tenor)
including Weather Forecast and Bulletin for Farmers
What the Amateur Can Do
GEORGE H. SEWELL
George Sewell is the author of ' Film Play Production for Amateurs' and ' Commercial Cinematography '. He was a pioneer of the sub-standard amateur cinema movement, was editor of the magazine Amateur Films, and founder of the Institute of Amateur Cinematographers.
Bach Celebration under the direction of C. SANFORD TERRY , Litt.D., Mus.D., LL.D. (Hon. Fellow of Clare College,
JOSEPH SLATER (flute)
SPENCER DYKE (violin)
BERKELEY MASON (pianoforte)
Sonata in G for violin and pianoforte i. Adagio; 2. Vivace; 3. Largo; 4. Presto
Trio in G
1. Largo ; 2. Vivace; 3. Adagio ; 4.
Series VI: Chords that Matter
Sir WALFORD DAVIES , C.V.O., Mus.Doc.,
The aim of this series of talks is to study the qualities and behaviour of certain chords, particularly the four important chords that dominate the harmonic structure of classical music and of much modern music. Many listeners if asked to differentiate between a given two chords would probably say vaguely that they sound very much alike. The question therefore arises: will the ear of the plain man eventually be able to distinguish chord from chord as it distinguishes word from word in poetry ? This evening Sir Walford Davies is to show how chords differ in nature and effect.
B. WALTON O'DONNELL
A Programme of Regimental Marches
Arranged and compered by WALTER WOOD
Relayed from The Royal Opera House, Covent Garden
Scene: An open space on the shore in front of the Hall of the Gibichungs
Cast in order of appearance
Conductor: Sir THOMAS BEECHAM, Bt.
Producer: Dr. OTTO ERHARDT
Chorus Master: ROBERT AINSWORTH
At the beginning of The Dusk of the Gods, the last drama in the cycle, the Ring has come into the possession of Siegfried, but the Nibelung race are still scheming to win it back from him. Hagen, the son of the Nibelung Alberich, who first stole the gold and fashioned the Ring, is a mighty warrior, head of the clan of the Gibichungs, and possessed of some of his race's magic lore. When the curtain rises on the stately hall where he reigns, he is himself sitting on guard. Alberich rises from the earth and urges on him the need of every cunning guile to secure the Ring. The music of this scene is sombre and mysterious. Then a beautiful orchestral passage heralds daybreak, and Siegfried enters.
In the first Act, Hagen had robbed him of his memory, by a magic potion, which blotted from his mind all thought of Brunnhilde, the wonderful Warrior Maiden whom he had found asleep on the rock and had won as his bride. Now he is to wed Gutrune, Hagen's sister, and is to give Brunnhilde as wife to Gunther, the Gibichung's brother. With the blowing of a mighty trumpet, and a loud call from his own strong throat, Hagen summons his vassals to bid Gunther and Brunnhilde welcome as they reach the hall.
Brunnhilde, seeing Siegfried, is horror-struck by his treachery, knowing nothing of the guile that brought it about, and there is a dramatic scene where first Siegfried, and then Brunnhilde, swear on the point of Hagen's spear that what they do is in good faith. Hagen's plot succeeds; he makes Gunther and the vassals understand Siegfried's treachery, and they all agree that it demands the hero's death. Briinnhilde, too, condemns him as false.
The Act closes with joyous music for the twofold bridal of Siegfried and Gutrune, and Gunther and Brunnhilde. But the grim theme, known as the 'Motive of Murder', breaks in on the jubilant notes and it is to its foreboding sound that the curtain falls.
including Weather Forecast and Forecast for Shipping
MARION BROWNE (soprano)
and Perhaps the Song of the Nightingale
@ SYDNEY KYTE AND HIS BAND
Relayed from the Piccadilly Hotel