From page 75 of ' When Two or Three '
Wilhelm Backliaus (pianoforte):
Study No. 7, in C sharp minor, Study No. 9, in G flat (The Butterfly), and Study No. 10, in B minor (Chopin)
Mischa Elman (violin), with pianoforte: Zigeunerweisen (Gypsy Airs), Op. 20 (Sarasate)
Wilhelm Backhaus (pianoforte) :
Sonata in C sharp minor (The Moonlight) (Beethoven) — 1. Adagio sostenuto; 2. Allegretto ; 3. Presto agitato
' Der Geburtstagsmorgen '
A. WAGNER , DR. PHIL. and ELSE'JOHANNSEN
by ARNOLD GOLDSBROUGH
From The Concert Hall,
The Practice and Science of Gardening-3
'Different Kinds of Soil'
B. A. KEEN , D.Sc., F.R.S.
2.30 Music, Course I
' Duple Time and the Tonic and Dominant '
ERNEST READ, F.R.A.M.
Arthur Rubinstein (pianoforte) :
Triana, Cordoba, Evocacion, Navarra, Seville (Iberian Suite) (Albeniz)
Conchita Supervia (mezzo-soprano) :
El relicario (Padilla) ; Lagarteranas (Guerrero) ; La Farruca (Triptico)
Early Stages in German
A. HERMANN WINTER
AMINA LUCCHESI (violin)
MARGF.RY CUNNINGHAM (pianoforte)
Conductor, T. J. POWELL
RODERICK LLOYD (bass-baritone)
MANDOLIERS with DON CARLOS (tenor)
including Weather Forecast and Bulletin for Farmers
Early Songs (1811-1814) sung by HERBERT HEYNER (baritone)
Vcrklarung (Tr2nsfiguration) (From
Pope's poem, The Dying Christian to his Soul)
Eine Leichenphantasie (A Funeral
Fantasy) (Poem by Schiller)
Schubert's astonishing creative genius asserted itself during childhood. His father taught him the rudiments of music and gave him violin lesson. Ignatz, his elder brother by twelve years, is supposed to have given him piano lessons. ' I was much astonished ' said Ignatz, ' when after a few months
I he told me that he had no more need of any help from me, but would go on by himself; and indeed I soon had to acknowledge that he had far surpassed me, beyond hope of competition '.
Schubert's earliest known compositions date from 1810—a set of piano variations, a fantasia for piano duet, and a Kyrie in C. In the following year came his first batch of songs. Almost from this initial stage of his development as a song writer he showed himself to be a master fully
1 equipped and mature.
During the present ' Foundation ' series of Schubert's songs, which is to he spread over several years, it is intended that the bulk of his songs shall be heard in chronological order.
' What makes a Play'
E. MARTIN BROWNE
or 'A Hundred Per Cent'
Invented and assembled by ARCHIE CAMPBELL
Demonstrated by LAURENCE ANDERSON Assisted by the following Ladies and Gentlemen :
COLLINSON AND DEAN
WALSH AND BARKER
And THE B B C VARIETY ORCHESTRA
Conducted by KNEALE KELLEY
How the Director of Documentary
Films goes about his Business
by JOHN WILLS
John Wills is the latest addition to the BBC's staff of accompanists. Born in Lincolnshire, Mr. Wills studied at the Royal Manchester College of Music under Egon Petri and later came to London to work with Frank Merrick. Mr. Wills has specialised in accompanying, for which he is well known in the provinces, having appeared with numerous celebrities, including Elena Gerhardt , John Coates , Casals, and Thibaud. For a short period he was a member of the British Trio with Arthur Catterall and Clive Twelvetrees , principal 'cello of the Hallé Orchestra. From 1921 until he joined the BBC staff six weeks ago Mr. Wills was a professor at the Royal Manchester College of Music.
including Weather Forecast and Forecast for Shipping
The International String Quartet
Andre Mangeot (violin), Walter Price (violin), Max Gilbert (viola), Bernard Richards (violoncello)
Reader, Ronald Watkins
10.27 Poetry Reading
The Lotus-Eaters, by Alfred, Lord Tennyson
'The Lotus Eaters' was published about a hundred years ago, and is a work of astonishing maturity for a young man of twenty-three, as Tennyson was then. The story is taken from an incident in Homer's 'Odyssey', where it is told how some of Ulysses's men tasted of the lotus and lost all desire of further wandering, or indeed of returning home. Tennyson, through their mouths, describes the doubt that assails us all at times: what is the point of struggling on? But perhaps the poem is most appreciated for the lovely music and the rhythm of its measure.
Faure had great power of lyrical expression. His music abounds with beautiful and finely drawn melodies. A consummate craftsman and a harmonist of considerable range and subtlety, everything he wrote was polished to the utmost degree and designed with an unerring sense of balance and clarity of style.
It is a curious fact that although chamber music was an important creative medium with Faure, the purest of all chamber music combinations - the string quartet - he neglected until the last year of his life, when the String Quartet in E minor appeared.
SYDNEY KYTE AND HIS BAND
Relayed from The Piccadilly Hotel