At The Organ of The Gaumont Palace
The New York Philharmonic Symphony Orchestra, conducted by Mengelberg : Overture, The Magic Flute (Mozart)
E. Berger (soprano), A. Kern
(soprano), E. Ruziczka (contralto), M. Hirzel (tenor), K. A. Neumann (baritone): Hm, Hm, Hm! Der Arme Kann von Strafe Sagen (The Magic Flute) (Mozart)
The London Symphony Orchestra, conducted by Albert Coates : Dance of the Apprentices (The Master-singers) (Wagner)
Friedrich Schorr (bass) : Jerum !
Jerum ! (Cobbling Song) (The Mastersingers) (Wagner)
Barbara Kemp (soprano) : The
Monologue of the Marschallin (Der Rosenkavalier) (The Rose Bearer) (Strauss)
Elisabeth Ohms (soprano).
Adele Kern (soprano), Eltreide Marherr (soprano) : Trio, I made a vow to love (Der Rosenkavalier) (The Rose Bearer) (Strauss)
The Berlin State Opera Orchestra, conducted by Zaun : Prelude, Act III, Arabella (Strauss)
George Baklanoff (bass) : Prince
Igor's Aria, In vain the sad and heavy heart seeks after peace (Prince Igor) (Borodin)
The London Symphony Orchestra, conducted by Albert Coates : . Dance of the Tumblers (The Snow Maiden) (Rimsky-Korsakoi)
' Come to the Fair
A visit to a Country Fair nearly a hundred years ago
A Medley of Music and Fun, by IAN PRIESTLEY MITCHELL
including Weather Forecast and Bulletin for Farmers, followed by Regional Sports Bulletin
Leader, ALFRED CAVE
Conducted by H. FOSTER CLARK
WALTER PAYNE (baritone)
In 1870 when Sullivan was twenty-eight he was invited to write a work for the Birmingham Festival; the composition he submitted was this Overture. It consists entirely of dance rhvthms, and in this sense it may be said to have some relation to the old overtures and suites with several movements of the eighteenth century when the dance measures of that period were used as a base for instrumental music. This work of Sullivan's, however, is much lighter in character, the tunes are jollier and more delicate and the orchestration, in which he was already showing himself a master, is full of grace and colour. It has always been a favourite with orchestras since it was published in 1889.
Sir Edward German's Theme and Six Diversions, although not ostensibly based on any particular theme, are easily recognisable as akin to his popular dances, and several of the Variations are actual dance tunes. The Theme is introduced by a brief prelude in which the same tune is heard in a slightly altered form suggesting the Dorian mode. It is itself a very straightforward tune, and although the Diversions are worked out with great interest and variety, their kinship with the tune is never lost sight of. Throughout the fourth, and at the beginning of the sixth, the theme is heard almost in its original guise.
MARIE ROOKER (contralto)
A Programme of Viennese Music MARIE ROOKER AND SEPTET Steierisches Volkslied (Styrian folk-song)
Zillertal, du bistmein' Freud' (Zillertal, you are my joy) MARIE ROOKER AND SEPTET Auf der Aim, da gibt's koa Siind' (Tyrolean folk-song)
Ballad in G minor. Op. 118, No. 3
Capriccio in G minor, Op. 116, No. 3 Intermezzo in E, Op. 116, No. 5
Capriccio in D minor, Op. 116, No. 7 Intermezzo in A flat, Op. 76, No. 3 Capriccio in C, Op. 119, No. 3
Intermezzo in B flat minor, Op. 177,
Rhapsody in E flat, Op. 119, No. 4
Led by MARIE WILSON
Conducted by JOSEPH LEWIS
Few musicians have had so adventurous a life as William Wallace , composer of Maritana. His father was a military bandmaster, and the younger Wallace was born in Waterford, Ireland, in 1812. Much of his early manhood was spent in Australia, farming and fiddle-playing, and later in all parts of the world. By i845, however, he was again in London, and someone seems to have suggested to him that he should compose an opera. Maritana was the result ; it appeared near the end of 1845 and was an immediate and assured success. It has ever since maintained its hold on the popular affections, although Wallace himself wrote other and better works afterwards.