Conductor, Joseph Jenkins
(From West of England)
William Pleeth (violoncello)
Margaret Good (pianoforte) The problem of satisfactorily combining cello with piano is not easy. The cello is less flexible than the violin, less strong and brilliant in rapid passages ; an elaborate piano Part easily drowns the stringed instrument. It can hardly be claimed that Mendelssohn handled these points as skilfully as Beethoven, but his second Cello Sonata in D major (composed 1842-3) is well written and one of the most attractive of his chamber works.
The delightful second movement, with its delicate pizzicato passages, reminds one of the composer's magic youth when his inward ear so often caught such echoes of fairyland. And the slow movement, a sort of choral fantasia, can hold its own in comparison with similar movements in the finely built organ sonatas.
(by permission of the Officers of the Royal
Army Service Corps)
Conducted by Mr. C. B. Hewitt ,
M.B.E. from the Municipal Gardens,
Mr. C. B.
with Vernon Adcock (xylophone)
Leader, Frank Cantell
Conductor, Charles Shadwell
Jack Watts (light baritone)
(Soloist, DICK MATHEWS )
Gramophone records illustrating the history of sonata form by Basil Lam
Leader, Harold F. Petts
Conductor, Ernest W. Goss
Walter Glynne (tenor) from the Pavilion, Torquay
A short story written for broadcasting by A. G. Morris and read by Edward Lloyd
and dance to the music of Jack White and his Collegians
Conductor, Colonel George Fuller
Edith Furmedge (contralto)
including Weather Forecast
from Queen's Hall, London
(Sole Lessees, Messrs. Chappell and Co. Ltd.)
Margaret Balfour (contralto)
Eric Greene (tenor)
Arthur Catterall (violin)
The BBC Symphony Orchestra
Leader, Paul Beard
Conducted by SIR HENRY J. WOOD
Mozart's Violin Concerto No. 5, in A (K.219), is one of five concertos he wrote in 1775-no doubt for his own use. Each, like the older Vivaldi type of violin concerto, consists of three movements, but in almost every other respect Mozart advanced far beyond his Italian, French, and Austrian predecessors in this field. This is particularly noticeable in the first movements. The opening tuttis with their quite symphonic statements of material, for instance, sounded quite a new note. Mozart's last three, and greatest three, symphonies were all written in three summer months of 1788 ; the E flat is dated June 26, the G minor, July 25, the C major, August 10. Mozart's finances were at their lowest ebb and this trio of masterpieces was written for a money-raising series of subscription concerts projected for June but postponed and apparently never given. It is characteristic that the E flat Symphony, overflowing with the joy of life, was composed at a time when (as we know from his letters of those weeks) Mozart was in the depths of despair.
The reciprocal influence on each other of Haydn and Mozart is well known. Even in this completely Mozartian masterpiece the attentive listener will notice affinities with the older master.
Tickets can be obtained from the British Broadcasting Corporation, [Address Removed] Messrs. Chappell's Box Office, [Address Removed] and the usual Agents. Prices: 7s. 6d., 6s., 5s. (reserved), 3s. (unreserved), promenade (payment at doors only) 2s.
Sir Henry J.
The BBC Theatre Orchestra
Leader, Tate Gilder
Conductor, Stanford Robinson
Redvers Llewellyn (baritone)
Roderick Lloyd (bass)
from the Piccadilly Hotel
Anatole Kitain : Feux follets
(Will-o'-the-Wisps) (Liszt). Ballade No. 3, in A flat ; Studies Nos. 5, 6, 7, and 8, Op. 10 (Chopin)
including Weather Forecast