An Orchestral Concert with Nino Piccaluga (tenor)
The B.B.C. Symphony Orchestra, conducted by Dr. Adrian Boult: Overture, Manfred (Schumann)
The Berlin Philharmonic Orchestra, conducted by Dr. Richard Strauss: Salome's Dance (Salome) (Strauss)
Nino Piccaluga : Death of Otello
The Berlin State Opera Orchestra, conducted by Mascagni: Dances (Iris) and Die Rantzau (Mascagni)
Nino Piccaluga : Ridi, Pagliaccio
(Laugh, Punchinello) and No, Pagliaccio non son (No, Punchinello, no more) (Pagliacci) (Leoncavallo)
The London Symphony Orchestra, conducted by Albert Coates : Francesco da Rimini (Tchaikovsky)
The Queen's Hall, London
(Sole Lessees, Messrs. Chappell and Co., Ltd.)
ROY HENDERSON (baritone)
(Principal Violin, CHARLES WOODHOUSE)
Conducted by Sir HENRY WOOD
Beethoven wrote four overtures for his opera Fidelio, the greatest of which is the famous third ' Leonora ' overture. As a matter of fact this so-called First Overture was written after the third, while the so-called second was written before any of them. The fourth overture succeeded the three ' Leonora' overtures and was called ' Fidelio
The work played tonight, fine work though it is, has not the strength of Leonora No. 3. It is made up from themes from the opera in a conventional way and has, of course, a certain sense of drama, but it is not the symphonic poem which its great successor really is.
In the last and biggest of his five pianoforte concertos, the so - called ' Emperor ', Beethoven made several innovations on the traditional form. But the listener who has noted the melodies of the orchestral introduction will have no difficulty in following the course of the first movement after the soloist enters; it is very big and splendid, but in no way difficult to understand. The slow movement is in effect a series of free variations on a simple and dignified melody, and the last movement is a brilliant rondo, which is linked with the slow movement by a very beautiful transition passage. The theme heard at the outset, gay and swift-footed, sets the pace for a movement which is throughout in Beethoven's brightest good spirits.
This symphony was composed by Beethoven in the autumn of 1806 for
Count Franz von Oppersdorf, who paid the composer a fee of three hundred and fifty florins. Actually the Fifth Symphony was intended for the Count, but as Beethoven explains in a letter to him : ' I was compelled by want to sell with a second one (No. 6 in F, " The Pastoral ") to someone else the symphony I had intended for you. But he assured that you will very soon receive the one I design you to have.'
' The Fourth Symphony in B flat ' said Schumann, ' stands like a slender Greek maiden between two Norse giants.' Indeed, the music is full o grace and charm, and the slow movement is one of Beethoven's most beautiful inspirations, of which Berlioz said : ' The being who wrote such a marvel of inspiration as this movement was not a man ... Such must be the song of the Archangel Michael as he contemplates the world's uprising to the threshold of the empyrean.'
Tickets can be obtained from [address removed]; and usual agents.
Prices (including Entertainments Tax),
7s. 6d., 6s., 5s. (reserved), 3s. (unreserved), Promenade (payment at doors only), 2s.