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Conducted by Lieut. B. WALTON O'DONNELL, M.V.O., F.R.A.M., R.M., relayed from The New Chenil Galleries, Chelsea
SIR ALEXANDER MACKENZIE has had a long and busy musical life. t.e was born in 1847, and has, happily, by no means retired from active life. Latterly he has been engaged in writing liis reminiscences.
He has written a good deal of music for stale works - Marmion, Ravenswood, Coriolanus, and Barrie's Little Minister, which was produced at the Haymarket Theatre in 1897. All the tunes in the Overture are original, except the familiar air of Duncan Cray, which peeps in dining the first half of the piece, and is a good deal used in the ' development.' Barrie himself suggested the use of this tune.
THIS piece was composed for performance by the massed Bands at Wembley on Empire Day two years ago. It is built upon a number of somewhat unfamiliar tunes, the first of which, Il adg Bui (Yellow Tim) was taken down by the Composer from a singer of folk-songs in County Cork. An Antrim tune, and snatches of The Green Ribbon, lead to the appearance, as a Euphonium solo, of A long the Ocean Shore. The Clarinets next start a chorus Jig,' and a Pipers' Dance is heard a little later. Two more tunes are used, and then the last section is made out of two Reels.


Stuart Robertson
Alexander MacKenzie

Jupiter, the Bringer of Jollity
Astrologers consider that each of the seven planets has an influence on life and affairs. Mais, for example, is the Bringer of War, Saturn the Bringer of Old Age, Uranus the Magician, and so on. Holst, in his Suite, aims at expressing a series of emotions in keeping with the traditional significance of the planets. Jupiter is the Bringer of Jollity - that jollity, says the composer, that likes good meat and drink. His piece is full of rollicking tunes. In the middle the dignity of Jupiter is presented in a fine folk-songish melody.

A Short Melodrama written for Broadcasting by Richard Hughes
To get the right atmosphere for listening to this play, lights should be turned down and the play heard in darkness or by fire-light. It will then be easier to imagine the mysterious Congo night, the thick undergrowth, a small clearing, the young English traveller and his companions, a nervous young Cockney, a middle-aged African gold prospector, and also the intrepid girl who is chiefly concerned; these characters and the distant background of black tribesmen with the accompaniment of the threatening beat of the tom-toms and the wailing of the native war chant.
Mr. Richard Hughes is a young Welsh story-writer and playwright who has done as much remarkable work as any other of the Georgians. His first book, 'Gipsy Night and Other Poems,' was published by the Golden Cockerel Press as recently as 1922. Since then he has written several notable plays, including 'The Sisters' Tragedy' and 'A Comedy of Good and Evil,' which aroused peat interest when it was produced at the Ambassadors Theatre last year; as well as 'A Moment of Time,' a book of short stories, and 'Confessio Juvenis.' He was the author of 'A Comedy of Danger,' the first play written specially for broadcasting, which was given in January, 1924.


Richard Hughes
Howard Rose

PART 11.
A S a boy of twelve, Elgar wrote some music for a children's play. In 1907 he revived this, and arranged it for a Full Orchestra, in the form of two Suites. We are to hear some of the pieces from the Second of these.
March. This. the opening movement of the Second Suite, begins in the time-honoured way, with the Drums. Then the Violins begin the Tune. There is a light and dainty Trio, followed by the return of the March, and these two are used in alternation.
The Little Bells. This calls for little description. Now the woodwind, now Strings, suggest to us fairy bells, while one bigger bell booms through.
Moths and Butterflies (Dance). Here light, fluttering figures on Flutes, Oboes, Clarinets. Harp and Strings picture for us these dancing creatures.
Fountain Dance. Very rapid figures for Muted Strings and light Woodwind suggest the playing waters.
The Tam Bear and The Wild Bear. Tho tame creature calls for just as big an orchestra as his more uncouth companions, and all seem to have a liking for Big Drum, Cymbals, and, particularly, Tambourine.


Conducted By:
Lieut. B. Walton O'Donnell

First Week-Song Cycle, 'The Maid o' the Mill.'
English Translations by Steuart Wilson and A.H. Fox-Strangways
Interpreted by Steuart Wilson (with Spoken Explanation of the Story)

This Song Cycle comprises twenty songs which Schubert selected from a set of poems by Wilhelm Muller. In it we follow the fortunes of a miller's apprentice who wanders off to seek a new master, following the course of a winding brook, to which he confides his thoughts. He finds his new work in a mill to which the brook leads him, and falls in love with the miller's daughter. He thinks he has won her, but she gives her love to a forest ranger, and the poor miller-lad, broken-hearted, seeks rest from his grief beneath the waters of the mill-stream, his one constant friend.

The songs were written in 1823, when Schubert had begun to feet more keenly than before the hardness of life, and when he was suffering, for part of the time, from illness (some of the songs were written in hospital).


English Translations by/Singer:
Steuart Wilson
English Translations by:
A.H. Fox-Strangways

2LO London

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This data is drawn from the Radio Times magazine between 1923 and 2009. It shows what was scheduled to be broadcast, meaning it was subject to change and may not be accurate. More