From page 63 of ' When Two or Three'
'Wives and Husbands'
By A Doctor
at the Organ of the Dominion Theatre,
Tottenham Court Road
Conductor, W. FOSTER from the Harbour Bandstand,
Directed by HENRY HALL
MARJORIE WESTBURY (soprano)
JOHAN HOCK (violoncello)
LEILA BRITTAIN (pianoforte)
Leader, Alfred Barker
Conducted by CRAWFORD McNAIR
IVAN MELLODEW (baritone)
Leader, H. S. Cropper
Conductor, Louis COHEN from the Valley Gardens ,
Leader, A. Rossi
Under the direction of EMILIO COLOMBO from the Hotel Victoria, London
DOROTHY D'ORSAY (contralto)
including Weather Forecast
B. WALTON O'DONNELL
ANDREW CLAYTON (tenor)
Scott Goddard , who is a frequent contributor to THE RADIO Times, is second musical critic of The Morning Post. He began his musical career as a chorister at the Temple Church under Sir Walford Davies , and later went to the Royal College of Music, studying composition under Sir Charles Stanford and Charles Wood , organ under Sir Walter Parratt and Sir Walter Alcock , piano under Herbert Sharpe , and conducting under Adrian Boult. For six years he was music master at Leighton Park School, Reading, and then in 1925 became assistant musical critic of The Observer until 1929 when he joined the musical staff of The Morning Post.
This evening Mr. Goddard is giving the first of two talks on ' Meaning in Instrumental Music '. His purpose is to find out the significance of ' 'pure' music, that is to say, music that has no connection with words, as in opera and song. A symphony or a piano sonata must have a meaning or else it is nonsense, but its meaning is primarily a musical one. Composers, almost from the beginning of instrumental music up to the present day, have tried to use music to describe concrete images.
Can music do this? These are some of the points that Scott Goddard is going to discuss this evening, and he will illustrate his talk with gramophone records and examples on the piano.
by IRENE SCHARRER
Directed by HENRY HALL
(Sole Lessees, Messrs. Chappell and Co., Ltd.)
Principal Violin, MARIE WILSON
Conducted by SIR HENRY J. WOOD
Symphony No. 3, in E flat (Eroica)
1. Allegro con brio; 2. Marcia funebre : Adagio assai; 3. Scherzo : Allegro vivace; 4. Finale: Allegro molto--Poco andante-Presto
In 1902 Beethoven told one of his friends that he was not satisfied with his works up to the ' present' time. ' From today he said, ' I mean to take a new road.' The Symphony No. 3 in E flat, which was written the following year, plainly shows a new and individual Beethoven, no longer belonging to the school of Mozart and Haydn.
The ' Eroica ' was at first dedicated to Napoleon Bonaparte , but the fury of the democratic Beethoven at Napoleon's proclaiming himself Emperor made him alter the dedication, though the ideal the composer had in mind remained to inspire the music. Attention may be briefly drawn to the heroic nature of the themes, particularly in the case of the first movement and the famous Funeral March movement.
Tickets can be obtained from the British Broadcasting Corporation, Broadcasting House, W.I; Messrs. Chappell's Box Office, Queen's Hall, Langham Place, W. I ; and usual agents. Prices (including Entertainments Tax) : 7s. 6d., 6s., 5s. (reserved); 3s. (unreserved) ; promenade (payment at doors only) 2s.
Sir Henry J.
including Weather Forecast and Forecast for Shipping
' Sea Harvests '-9
'Ten Days Out'
from the Dorchester Hotel