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From page 21 of 'When Two or Three'

: Weather Forecast

for Farmers and Shipping

: A Programme of Gramophone Records

The Pro Arte Quartet (Onnou;
Halleux ; Prevost ; Maas) with Alfredo Casella (pianoforte) : Quintet for Pianoforte and Strings (Bloch) —1. Agitato; 2. Andante mistico ; 3'. Allegro energico
Menuhin (violin) : Nigun (Improvisation) (Bloch)
Ernest Bloch , born at Geneva just fifty-five years ago, is one of the most distinguished Jewish composers now Jiving. He studied first with the Apostle of Eurhythmics, Jaques-Dalcroze ; then went to Brussels to work at the violin under that other great Jewish musician, Ysaye. Since 1917 Bloch has lived in America, and he is now musical director of the Institute of Music in Cleveland, Ohio.
It is necessary to emphasise Bloch's
Jewish blood, for he is intensely proud of it. There have been outstanding Jewish composers in the past-Mendelssohn, Meyerbeer, Mahler, Offenbach and others—but their music has been in no way Jewish. Their only Jewish characteristic has been their adaptability, their chameleon-like aptitude for taking the colour of their background. Bloch's attitude is very different. He writes music that is as recognisably Hebraic as Vaughan Williams 's is English.


Pianoforte: Alfredo Casella
Unknown: Ernest Bloch
Unknown: Vaughan Williams


At the Organ of The Trocadero Cinema,
Elephant and Castle


Relayed from The Granada,

: An Organ Recital

From the Concert Hall,
Broadcasting House


Unknown: H. Peasgood

: A Pianoforte Recital by JOYCE KADISH

Wilhelm Friedemann Bach was Johann Sebastian 's eldest son, and it was for his instruction that his father wrote the ' Little Preludes ', the Two-Part and Three-Part Inventions, and the first book of the ' Forty-Eight Preludes and Fugues '. But Wilhelm Friedemann was not only the cause of great music in another; like one or two of his brothers, he was very nearly a great composer himself. But, whereas his father, the great Bach, seems to have been temperamentally a stolid German bourgeois, Friedemann was very much closer to the artistic type as it is popularly imagined to be.
He was lazy, self-centred, ' ungracious even to his friends', rather eccentric. And he drank. So, magnificent artist as he was--charming clavier player, organist able to ' excite reverent awe ', as a composer (says one authority) ' nearest among his brothers to his father in the originality and bent of his genius, and in his powers of improvisation'—his career had in it many elements of tragedy.
Wilhelm Friedemann was not a failure. But he might have been a much greater success than he was. He produced a considerable quantity of fine work in the rococo style, but, according to Forkel, he put the best of himself into improvisations which he was too lazy to write down.


Unknown: Wilhelm Friedemann Bach
Unknown: Johann Sebastian
Unknown: Wilhelm Friedemann
Unknown: Wilhelm Friedemann


Leader, BERTRAM Lewis
IRENE KOHLER (pianoforte)
Relayed from The Pavilion,
Debussy's L'après-midi d'un faune is a musical interpretation of a poem by the French poet, Stéphane Mallarm6. It has been said that the poem is so elusive in meaning, so subtle in its refinements of language, that it is practically untranslatable into another tongue. Debussy's is perhaps the dnly medium suited to an exposition of the poem. The picture is of a faun who, waking at dawn in the forest, tries to recall what happened to him before he fell asleep. His musings are confused with visions of nymphs who spent the afternoon with him. and the possibility that the whole thing has been a dream coloured with the music of his own flute.
Brahms appeared as soloist in his Second Pianoforte Concerto on its first performance ; that was during the Christmas week of the year 1880, in Vienna.
Nearly twenty-two years had elapsed since the First Pianoforte Concerto came out, and by contrast with its expression of stress and conflict, the Second Concerto is almost light-hearted. It is dedicated to Brahms's old master, Eduard Marxsen , as a token of the life-long gratitude and affection which united the two men.
Welsh Rhapsody Edward German
The music of German's ' Welsh Rhapsody ' is built upon four traditional Welsh tunes. These are developed, embellished, and given orchestral colour with all German's skill and artistry. The opening Allegro is based on the tune ' Loudly Proclaim ' ; the second part is a scherzo-like movement, having ' Hunting the Hare ' as its motif; a slow section which follows is built around the lovely melody ' David of the White Rock ' ; and ' The Men of Harlech ' is used to form a stirring final march


Leader: Bertram Lewis
Pianoforte: Irene Kohler
Unknown: Eduard Marxsen

: A Programme of Gramophone Records

The Halle Orchestra, conducted by Sir Hamilton Harty : Rosamunde Overture (Alphonso and Estrella) (Schubert)
The New York Philharmonic Symphony Orchestra, conducted by Toscanini : Scherzo (A Midsummer
Night's Dream) (Mendelssohn)
The Berlin State Opera Orchestra, conducted by Clemens Schmalstich : Ginger Bread Waltz ; Witches' Ride (Hansel and Gretel) (Humperdinck)
The Berlin State Opera Orchestra, conducted by Dr. Leo Blech : Polonaise No. 2 (Liszt, arr. Miiller-Berghaus)


Conducted By: Sir Hamilton Harty
Conducted By: Clemens Schmalstich
Conducted By: Dr. Leo Blech


including Weather Forecast and Bulletin for Farmers


Directed by HENRY HALL


Directed By: Henry Hall

: From the Story by H. G. Wells 'The Purple Pileus'

This is the third short story by H. G. Wells to be adapted for broadcasting. The 'purple pileus' of the title is a mysterious fungus, unpleasant in appearance and in smell. The story tells of its curious effect on Mr. Coombes, an unassuming, inoffensive little man in the grocery line, and upon his wife, his wife's friends, his business, and his whole manner of life. It all starts with a row about singing on Sunday, and works up to the most tremendous dimensions.
Philip Wade, who plays Mr. Coombes, scored a great personal success in last year's production of The Man Who Could Work Miracles. Besides making a name for himself as a versatile and accomplished actor in radio drama of many kinds, he has the added distinction of being one of the few successful authors of radio plays. In the part of Mr. Coombes he has material for another superb portrait to add to his gallery of broadcast types.
Ann Trevor, who plays the part of Mrs. Coombes, is a delightful character actress, known to listeners, notable for her work in the Ann and Harold plays, in Squaring the Circle, a comedy of domestic life in Soviet Russia broadcast last September, and more recently in Victorian Double Bill.
Laurence Gilliam , who has adapted the story, tells you about it in 'Background to the Broadcast' on page 3.
This play was broadcast in the Regional programme last night


Story writer: H. G. Wells
Music composer: Robert Chignell
Conductor: Robert Chignell
Adapter: Laurence Gilliam
Production: Laurence Gilliam
Mr. Coombes: Philip Wade
Mrs. Coombes: Ann Trevor
Clarence: Harold Scott
Jennie: Myrtle Richardson
Tom: Eugene Leahy
Narrator: V. C. Clinton-Baddeley




Conductor: B. Walton O'Donnell
Bass: Franklyn Kelsey


including Weather Forecast and Forecast for Shipping

: Transatlantic Bulletin

(From America)


(Section C)
Conducted by H. G. AMERS


Unknown: Laurance Turner
Conducted By: H. G. Amers


Maurice Winnick and his Orchestra

London National only (261.1 m.)
TELEVISION (low-definition) By the Baird Process
Leonie Zifado (soprano)
Cleo Nordi (dances)
Algeranoff (First character dancer of Les Ballets Russes Classiques)
Gustave Ferrari (songs in French)
Reginald Paul at the pianoforte
(Sound will be radiated on 296.2 M.)


Unknown: Gustave Ferrari
Unknown: Reginald Paul

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