(Under the direction of Johan Hock)
From Queen's College, Birmingham)
THE GRILLER QUARTET:
Sydney Griller (1st Violin) ; Jack O'Brien (2nd Violin); Philip Burton (Viola); Colin Hampson
Assisted by JOHAN HOCK (Violoncello)
Relayed from The Queen's Hall
(Sole Lessees, Messrs. Chappell and Co., Ltd.)
Albert Sammons (Violin)
Lionel Tertis (Viola)
The London Philharmonic Orchestra
Conductor, Sir Thomas Beecham
At the moment Rossini's music appears to be under a cloud, but the time is not far off when it will again come into its own. The Barber of Seville and William Tell are undoubtedly Rossini's two most successful operas, the music of which has definitely lasting qualities. In the overture to William Tell there is plenty of variety in the way of sentiment and gaiety, and the orchestral treatment is brilliant to an extreme.
In the eighteenth century orchestral works which contained a prominent solo part for one or more instruments were called 'concertantes.' The concertante was therefore a kind of forerunner to the modern concerto. Mozart's very beautiful example of this form is said to have been written in 1780. It is scored for solo violin and viola and an orchestra consisting of two oboes, two horns, and strings. There is not very much independence in the solo parts: when the violin and viola unite they play for the most part in thirds and sixths.
Towards the end of 1872 Tchaikovsky wrote to his brother that his Second Symphony was nearing completion and that he was unable to think of anything else : ' It seems to me to be my best work, at least as regards correctness of form, a quality for which I have not so far distinguished myself.' It was performed early in the following year with great success. Known as the Little Russian Symphony because the finale is based on a little Russian folk-song called The Crane, it is quite a charming work, but the music is not so original and powerful as that of the later symphonies. The last movement has always been the popular one.
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