From page 78 of ' When Two or Three'
Our Everyday Problems
By a Doctor
at the Organ of the Dominion Theatre,
Tottenham Court Road
Conductor, S. T. WEBBER from the Floral Hall Garden, Southport
Directed by HENRY HALL
DORIS WATKINS (soprano)
DORIS LANGHAM SMITH (violin)
MARY ABBOTT (pianoforte) DORIS LANGHAM-SMITH AND MARY ABBOT
Cesar Franck 's music reflects his personal characteristics as a man with extraordinary fidelity. His kindness, idealism, mysticism, and sentimentality are all qualities that are sublimated in his music. One of his most personal and intimate works, and from a purely musical point of view possibly his most perfect, is the Violin Sonata in A, which was written in 1886 for that great Belgian violinist, Ysaye. One of its most striking characteristics is the power and inevitableness of its construction : the principal theme of each of the four well-contrasted movements derives from the opening figure heard at the beginning of the first movement. This ' cyclic ' method of construction, of which Franck was so fond, is here exploited to its utmost possibilities.
Leader, Alfred Barker
Conducted by CRAWFORD MCNAIR
VINCENT CAYGILL (pianoforte)
Leader, Reginald Whitehouse
Conductor, MAURICE MILES from the Pavilion Gardens, Buxton (Solo violin, REGINALD WHITEHOUSE)
Leader, A. Spiero
Under the direction of EMILIO Colombo from the Hotel Victoria, London
(marimba-xylophone and vibraphone)
(All arrangements for the Quintet by Beaver and Fletcher)
including Weather Forecast and Bulletin for Farmers
THE BBC MEN'S CHORUS
Conductor, LESLIE WOODGATE
STUART ROBERTSON. (baritone)
At the pianoforte, JOHN WILLS
Pushing a coin along a wooden board doesn't seem, on the face of it, very exciting. Yet shove-ha'penny is a strangely fascinating game requiring skill and-incredible to the non-player -coolness. This evening Trelawney Dayrell-Reed will do much to convince scoffers of what they are missing. He is curator of the Pitt-Rivers Museum, at Farnham, Dorset, but, of more importance to listeners to this talk, he is a shove-ha'penny player of great repute in the West Country. Even the ' old hands ' of the ' local' speak of him with respect. He will have a little to say of the antiquity of the game, but he will devote a good deal of his time to deploring modern innovations that make every true player writhe, atrocities such as ' wires' embedded in the board, milled-edged coins, oversized and under sized beds and the like.
with JANET LIND and SAM COSTA
At Queen's Hall, London
(Sole Lessees, Messrs. Chappell and Co., Ltd.)
A Beethoven Programme
NICOLAS MEDTNER (pianoforte)
Principal violin, MARIE WILSON
Conducted by SIR HENRY J. WOOD
Symphony No. I, in C
I. Adagio molto-Allegro con brio; 2. Andante cantabile con moto; 3. Minuetto e Trio; 4. Finale: Adagio-Allegro molto e vivace
Beethoven was thirty when his first symphony was performed in 1800. The music seems simple and straightforward enough to us now, but in those days it was considered by the critics to be daringly modern. The introduction upset them, for Beethoven had been a little unconventional in the matter of keys, running through three of them in the first three bars.
Recit. and Aria, Abscheulicher (Fidelio)
Pianoforte Concerto No. 4, in G
1. Allegro moderato ; 2. Andante con moto; 3. Rondo : Vivace
Solo pianoforte, NICOLAS MEDTNER
!t is curious that so little should be known of the origin of such a master-piece as Beethoven's Fourth Piano Concerto. No one can even give its date with certainty. Schindler, who knew Beethoven but is unreliable, says 1804; several writers say 1805 (without giving any authority) ; Thayer, greatest of Beethoven scholars, suggests the end of 1806. At any rate, it is certain that the Concerto dates from the period of Fidelio, the Violin Concerto, and the Fourth and Fifth Symphonies.
The whole work shows Beethoven in his most romantic mood. The dialogue in the slow movement between the strings in unison-harsh and adamantine—and the piano, which replies with some of the loveliest phrases ever written for the instrument, suggested to Schumann the idea of Orpheus pleading with the powers of the underworld for his Eurydice.
Tickets can be obtained from the British Broadcasting Corporation, Broadcasting House, Portland Place, W.1, Messrs. Chappell's Box Office, Queen's Hall, Langham Place, W.1 and usual agents. Prices (including Entertainments Tax) : 7s. 6d., 6s., 5s. (reserved) ; 3s. (unreserved) ; promenade (payment at doors only), 25.
including Weather Forecast and Forecast for Shipping
Men at the Helm
D. K. WOLFE-MURRAY
Conducted by WILLIAM J. MATTHEWS
Debussy's ' Petite Suite ' was originally composed as a duet for piano (four hands), the medium to which Schubert was so much attracted, and to which many composers after him have been drawn at least once in their career. It was, for instance, the original form of Ravel's popular 'Mother Goose ' Suite. The 'Petite Suite' was first played by the composer with Jacques Durand , a son of his publisher who had been a fellow student with him. It was the latter who made the piano solo transcription which is in general use, but the orchestral version is the work of Henri Biisser , a prix de Rome of 1893, who is known as the composer of several operas and a ballet.
from the Holborn Restaurant