ODETTE DE FORAS (Soprano)
ARTHUR BENJAMIN (Pianoforte)
THE B.B.C. CHAMBER ORCHESTRA
Conducted by CONSTANT LAMBERT
IN devoting a whole programme in the series of contemporary music to England, this country is claiming no more for its present-day composers and their work than the rest of Europe has for years recognized as its due. Ever since their inception, the annual festivals of the International Society for Contemporary Music have included modern English work in the programmes chosen by a jury which is representative of Europe as a whole. Constant Lambert and Arthur Bliss have both had performances of their music. This year, when tho Festival was held for the first time in England, the co-operation of the B.B.C. with its orchestra and the National Chorus making that possible, Constant Lambert consolidated his position in European music by his twofold success-as composer and conductor. Ho challenged attention first, as a very young man, with the Ballet Romeo and Juliet, the first work of its kind by an English composer to be adopted by Diaghilev ; he produced it with his Russian Ballet at Monte Carlo in 1920, where it won an immediate success. Like much other music of the same order, it can be more often heard in the form of a suite,
. as the composer is himself to present it this evening. His concerto for pianoforte and the chamber orchestra to which modern composers are inclining more and more, is a full-sized work of its class, despite the economy of its score; this is the first performance.
Patrick Hadloy , son of the Master of Pembroke, and himself a graduate of King's, was a student of the Royal College under Dr. Vaughan Williams; he is now on the teaching staff there, and has already composed several orchestral works and shorter pieces-notably The Woodlanders, to words of Thomas Hardy 's. Rout, by Arthur Bliss , is the first important work by an Englishman which the rest of Europe acclaimed as a real contribution to contemporary music. Composed in 1919, and first performed at the end of 1920. it was one of the works which were heard at the Salzburg Festival of 1922, the Festival which was the origin of the International Society. It is for soprano voice and ton instruments, and the voice has no words to sing, only syllables chosen for their sound and not their meaning. Strikingly original, it reflects something of his own bracing personality-broad-shouldered, upstanding, and virile.
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