Led by Harold Jones
Conducted by Alfred Barker
Frank Whitehead (pianoforte)
Helen Hill (soprano)
Ashmoor Burch (baritone)
from the Orpheus Restaurant, Belfast
Leader, Harold F. Petts
Conductor, Ernest W. Goss
Kathleen Willson (contralto) from the Pavilicn, Torquay
Bessie Rawlins (violin)
Reginald Paul (pianoforte)
. Bax's Second Piano Sonata, like his
First, is modelled broadly on the lines of Liszt's great Sonata in B minor ; that is to say, it consists of one great movement in so-called first movement form '. The gloomy opening, the fanfare-like principal theme, the lovely Celtic' second subject', and the beautiful close of the work are unforgettable.
at the Organ of the Tower Ballroom,
by Campbell Murdoch (baritone)
at the BBC Theatre Organ with Ivor Dennis at the piano
including Weather Forecast
bv Francis Toye
The first in the second series of programmes of new and unknown artists from all parts of the British
Presented by Carroll Levis and Bryan Michie
Compere, Carroll Levis with Alfred Van Dam and his Trocadero Orchestra
Led by Laurance Turner
Conducted by Constant Lambert
Henri Temianka (violin)
Vaughan Williams 's Concerto Accademico was first performed in November, 1925. It is not, as its title suggests, in any way an ' academic ' work, except that its style is that of the old classical concerto in which the solo instrument and the orchestra converse amiably together. Each of the three movements is designed on very clear-cut and straightforward lines. The slow movement, however, is considered by many musicians to be Vaughan Williams at his best.
Henri Temianka , who is a British subject, was bom in Scptland of Polish parents. At the age of six he began to study the violin in Holland, and later he went to Berlin and Paris to finish his studies. Finally Mr. Temianka became the protege of Carl Flesch , who took him to America. His success was immediate and consequently he was engaged to play in all the chief musical centres in America. A year later he went on a European tour in the course of which he visited London, and since that time he has been more or less a regular and much appreciated visitor.
In an article on Apparitions in the Radio TIMES Constant Lambert, who was responsible for the arrangement of this ballet for the Sadler's Wells production in 1936, described the music of the orchestral suite as follows: ' The Suite consists of six movements (four taken from the first tableau). The first is the prelude to the ballroom scene, a rather sinister little march in Hungarian style. The next is a mazurka, a number for the corps de ballet (the poet enters in the middle). Then comes a romantic dance in valse time for the woman in ball dress. This leads (the transition here is the only passage not by Liszt but by myself) to a brilliant galop which forms the climax of the first tableau. This galop unlike the other pieces belongs to Liszt's earlier period. The fifth movement, suitably called ' Sinistre ', is the funeral cortege from Tableau II. Its harmonic boldness is astonishing for the period. The last movement is the Third ' Mephisto ' valse which was used intact for the cave scene. The woman in ball dress enters in the tranquillo section (where the harmonic resemblance to Scriabin is most surprising).
(including Weather Forecast)
SPORT. TOPICAL TALKS
Directed by Frank Rea with THREE IN HARMONY from the Orpheus Restaurant, Belfast
including Weather Forecast
Frederick Thurston (clarinet),
Rebecca Clarke (viola), and Kathleen Long (pianoforte): Trio in E flat (K.498 (Mozart)—1 Andante. 2 Minuetto. 3 Rondo allegretto