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T IKE most politicians, Mr.
Noël Biixton has a" softer side. In the case of this particular Front-Bencher— he was Minister of .Agriculture in the Labour Government-one aspect of his softer side is his interest in the London Gardens Guild, which exists to brighten London by growing flowers on everything short of a rubbish dump. It is of the activities of the Guild, and in particular of the competitions that it promotes, that he will talk tonight.

'A Haunted House and 'Of Brer Rabbit' from 'Fireside Tales' (Op. 61) 'A.D.' 1620' from Sen Pieces ' (Op. 55) ; Mareh
. Wind' (Op. 46, No. 10)
A HAUNTED HOUSE is A a capital bit of work, as nearly hair-raising as music can be. From the beginning, ' mysteriously,' played with ' very dark and sombre 'colour, through the passage in the middle, ' smooth and lithe,' that surely depicts a ghostly visitor, to the end, which leaves the listener breathless and awed, the piece comes off extraordinarily well.
Of. Brer Rabbit is a waggish piece.
A.D. 1620 suggests the indomitable spirit of the Pilgrim Fathers as they undertook their perilous journey to a new land. Some may find, too, a hint of the dangers they had to face on arriving there.
March Wind comes from a set of Virtuoso
Studies, and is as gusty and exhilarating as can be desired. At the end we reach shelter and enjoy the sudden calm.


Played By:
Ethel Walker

To start his new series of talks, the Merton Professor of English Literature in the University of Oxford has chosen one of the most companionable of all the classics. Don Quixote, although it relates to a mode of life as far removed from us as the Eighteenth Dynasty, and satirizes an institution that is as dead as Tutankhamen - formal Chivalry is pre-eminent among the books that one closes with the feeling that one has parted company with friends. The mad knight of La Mancha and his homely squire pass through the most fantastic adventures, but the stranger their surroundings, the more real and intimate do they become.


Professor George Gordon

(Leader, S. KNEALE KELLEY ), conducted by Sir LANDON RONALD
Slav March
The ' Pathetic Symphony '
TCHAIKOVSKY'S Sixth Symphony, called by him ' The Pathetic,' has become the most popular of his larger orchestral works. It was its Composer's favourite, but he hardly anticipated for it the general approval it has received.
The separate Movements of the Symphony are as follows :-
First MOVEMENT. Slow Introduction. Then
Pretty quick-Rather slow-Quick and lively -Rather slow. That is to say, this is a Movement with many changes of speed. With the ' Pretty quick' section the Movement proper opens. It is made out of two chief tunes, one agitated and broken in character, and the other gracious and flowing.
SECOND MOVEMENT. (Quickly and gracefully.) '
This is the favourite Movement, with five beats to a bar, instead of the two, three, four, or six usual at the time this work was written. (Considered in another way, it consists of alternate bars of two beats and three beats.)
THIRD MOVEMENT. (Rapid and lively.) This has a good deal of the Military March style about it.
FOURTH MOVEMENT. (Slow and lamenting, then Somewhat quicker.) The moods here pass through pathos and pity to final despair-as though the Composer saw approaching the death which overtook him within three months of the completion of the work.


Arthur Catterall
S. Kneale Kelley
Conducted By:
Sir Landon Ronald

BESIDES being Professor of Zoology at Leeds
University, and an expert On some of the most abstruse aspects of Marine Biology and Deep Sea Fisheries, Professor Garstang is the author of a charming book on ' The Songs of the Birds.' In the two talks of which this is the first, he will illustrate his remarks with imitations of the various birdcalls of which he speaks-notably the Tree Pipit and the Willow Warbler.

Chanson sans paroles (Song without Words)
Concerto in D for Violin and Orchestra
THE Concerto was written in 1878. It consists of three Movements,, hut the end of the Second leads straight into the Third. '
The FIRST MOVEMENT begins with a short Introduction (moderately quick) in which the Solo Violin is silent, but the First Main Tune is hinted at in the String.
When the Soloist enters he is left alone for a moment or two ; when he starts the First Main Tune (at a very moderate pace) he is very quietly accompanied by the o t h e r Strings (chiefly plucked). The Soloist t repeats the First Main Tune an octave higher, with great. elaboration. He continues with more and more brilliance, the whole Orchestra gradually entering and building up something of a climax.
Again the Solo Violin is left alone for a moment, and then introduces the Second Main Tune;
This lasts some time, and with the First Main Tune forms the basis of a lengthy, elaborate Movement.
(Moving Steadily.) This is a ' Canzonetta,' or ' little song.' It opens with a piece of interesting (though unaggressive) orchestral tone-painting. First Clarinet plays short melody, accompanied by the other Clarinet, the Bassoons, Horns and (very slightly, at the opening) Oboes.
Presently the Solo Violin plays the quiet, expressive, song-like Main Tune.
After Flute and Clarinet have in turn echoed the bird-like trills of the Tune, the Solo Violin continues his song rather more vehemently.
THIRD MOVEMENT. (Quick, and very lively.)
The Full Orchestra utters a cry, and Strings loudly continue this reiteration of the two notes, anticipating the First Main Tune of this Finale. Now the Solo Violin enters and has a Cudenza in the same strain.
At last the First Main Tune is fairly launched by the Soloist and starts its wild career.
When much distance has been covered, there comes a lull, and the Solo Violin ushers in the Second Main Tune (rather slower).
At last the First Main Tune returns. So this dashing Finale runs its course.


Arthur Catterall

2LO London

About this data

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