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Conducted by Lieut. B. WALTON O'Donnell,
R.M.
HAROLD Williams (Baritone)
MARGARET FAIRLESS (Violin).
OBERON was Weber's last opera. It was written for performance at Covent Garden (1826). Its brilliant and romantic overture was actually written in London, where the composer died a couple of months later. It conveys no suggestion of its being, as it was, the work of a man who sadly realized that life was ending.
In the slow Introduction (quite short) we hear
ā€” (1) The magic horn of Obercn, the King of the Fairies. (2) A light-fcoted passage suggesting the movements of his subjects. (3) A March passage and then a loud chord which ends the Introduction and ushers in the main body of tho Overture.
The pace now changes and, at a very rapid speed, we hear (4) the First Main Tune, of the Overture (quick and fieiy). It is taken from a quartet in the Opera (Over the Dark Blue Waters).
(5) Soon comes another call upon Oberon.s
Horn, followed by the light Fairy Music, and then the Second Main Tune. This is one oi tho melodies sung by Oberon.
(6) Immediately after this comes a. beautiful tune, taken from the well-known song in the Opera, Ocean, Thou Mighty Monster.
All this constitutes the chief material of the Overture, and, these tunes identified, the rest of its course will be clear to the listener.
The whole piece is full of fairy romance and of the open-air spirit.
PARIS, the gay city,' could hardly have gayer music than the favourite picture of eamival-time, by the Norwegian composer, Svend Sen. We imagine some such jollification as the Shrove Tuesday procession, with its decorated cars, grotesque figures, masquers, and happy crowds of holiday -making spectators.
SPANISH Dance rhythms have attracted several Russian composers. This Caprice consists of a string of short Movements in various Spanish styles, which follow one another without pause.
The first is an Alborndo, or morning serenade-a vigorous waking-up ' piece.
Next we have a tiny set of Variations on a theme. Then the Alborado is repeated, with varied orchestration.
A Scene and Gipsy Song follows, and the last dance is a Fandango (originally a dance to the accompaniment of guitar and castanets).
Dance of the Camorrists ; Valse Intermezzo
BORODIN (1834-1887), Doctor of Medicine and Professor of Chemistry, became one of the leading ' Nationalist ' Composers in nineteenth century Russia. He wrote this ' Sketch ' in 1880. A ' programme ' is printed on the title-page of his score. It may be freely translated as fottows:ā€”
' In the silence of the sandy steppes of Central
Asia ring the first notes of a peaceful Russian song. One hears, too, the melancholy strains of songs of the Orient ; one hears the tramp of horses and camels as they come. A caravan, escorted by Russian soldiers, crosses the vast desert, fearlessly pursuing its long journey, trusting wholly in its Russian warrior-guard.
Ceaselessly the caravan advances. The Russian songs and the native songs mingle in one harmony ; their strains are long heard over the desert, and at last are lost in the distance.'
Borodin aims at suggesting the great spaces of his plains by high, held notes which continue almost unbroken throughout.
The Russian song is heard at the opening. A few moments later comes the Oriental song.

Contributors

Baritone:
Harold Williams
Unknown:
Svend Sen.

Relayed from HOLY TRINITY CHURCH, Leeds
Address by the Rev. W. THOMPSON ELLIOTT ,
Vicar of Leeds
CHOIR of the Holy Trinity Church
S.B.from Leeds
8.55 THE WEEK'S GOOD CAUSE : Appeal on behalf of Pearson's Fresh Air Fund, by the Rt. Hon.! Lord RIDDELL
PEARSON'S Fresh Air Fund has been in existence for thirty-five years, and in that time it has given aday in the country to more than five million poor children from London and the big provincial towns. In addition, it started in 1908 to give holidays lasting the whole of two glorious health-giving weeks, and over 80,000 children have benefited by these. It may interest the charitably disposed to know that fifteenpence pays for a day's, and a pound for a fortnight's outing; and. that, as the promoters pay all the expenses of management, the money subscribed goes entirely to the children.
Lord Riddell, the newspaper proprietor, who makes the appeal, is a particularly appropriate person to do so, as he now controls the publishing business built up by the late Sir Arthur Pearson , the founder of the Fund. He is also a practised and entertaining speaker.
Contributions should be sent to
Mr. Ernest Ressell , [address removed]

Contributors

Unknown:
Rev. W. Thompson Elliott
Unknown:
Sir Arthur Pearson
Unknown:
Mr. Ernest Ressell
Unknown:
Henrietta Street

Played by CHARLES DRAPER and THE VIRTUOSO QUARTET
Relayed from the Rudolf Steiner Hall
THIS is written for Clarinet and String
Quartet (two Violins, Viola and 'Cello).
It is not a mere show piece for Clarinet, though it does indeed use all the best resources of the instrument. But the Clarinet is here little more prominent than the Strings and, in fact, this Quartet owes much to the Clarinet's capacity for taking an unobtrusive part in the general conversation of the Strings.
There are five Movements, the Third being joined to, and almost an introduction to, the Fourth.
The First Movement (Quick) is fairly complicated, but none the less beautiful. There are at least four short tunes, given in turn to most of the instruments impartially.
In the Second Movement (Slow) the Strings are muted. It is more lyrical, but the middle part of the Movement consists chiefly of elaborations in Clarinet and First Violin.
The Third Movement (Moving steadily) is exceedingly simple and hymn-tuhe-like. As already said, it is joined to the-Fourth Movement (Rapid, but not too rapid, and with feeling). This is playful, whimsical, and has some interesting colour effects.
The Fifth Movement ( With speed) is an Air with five Variations. Towards the end a suggestion of the First Movement becomes increasingly marked, until we come to the Coda, which is founded on the First and Last Movements.

Contributors

Played By:
Charles Draper
Unknown:
Rudolf Steiner Hall

HELEN HENSCHEL (Soprano) ; LEONARD GOWINGS
(Tenor)
JAN SMETERLIN (Pianoforte)
OLD popular songs of France were cast in many different styles. There were narrative songs, satirical songs, pastorals and ballads, legends of the saints, and a great many other varieties. Prominent among collectors of these old songs was Weckerlin. He began life as a chemist. Later he became a Professor of Singing, and Librarian at the Conservatoire.
10.0 JAN SMETERLIN
Nocturne in G Major
Mazurka in C Major ................. Chopin Etude in F Major
Two Waltzes B flat major .....Brahms Liebeslied .............. Kreisler-Rachmaninov
10.20 HELEN HENSCHEL (at the piano)
English Folk Songs :
Whistle, daughter............ arr. Cecil Sharp The Oak and the Ash ............ Traditional Bridgwater Fair .............. arr. C. Sharp
1027 LEONARD COWINGS
Down Vauxhall Way .......... Herbert Oliver Murmuring Breezes .................. Jensen

Contributors

Soprano:
Leonard Gowings
Unknown:
Brahms Liebeslied
Unknown:
Cecil Sharp
Unknown:
Herbert Oliver

2LO London

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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