DOROTHY BENNETT (Soprano) ; KEITH FALKNER
VERY soon after he left the Royal Academy of Music (in 1887) Edward German began to make his mark, first with music for the theatre. His Richard III music, written within two years of that event, was a great success. For some time after that lie was busy almost every year with commissions either for'incidental music to plays. or for works to be produced at Musical Festivals.
The Overture and incidental music for Much
Ado about Nothing were written for the late Sir George Alexander 's production of the play at the St. James' Theatre in 1898. The Overture opens gaily, as befits the general mood of the play.
The more sober, thoughtful Second Main Tune is associated with Hero and Claudio. A third theme, a March, is that to which, in the play. Don Pedro and his followers enter.
CHABRIER, who died thirty-three years ago, was a French Composer of wit and gaiety. He loved striking rhythms and gaudy orchestral colourings. The piece by which lie is most frequently represented on orchestral programmes, his Rhapsody, Spain, gives a good idea of his flamboyant personality.
The Pastoral Suite was made out of his
Picturesque Pieces for Piano, four of these being included-an Idyll, a Village Dance, a piece called Under the Trees, and a Scherzo- Valse.
WHY it was never finished nobody knows, for the composer lived six years after completing what we arc now about to hear, which consists of two Movements out of the intended four. In these two Movements musicians have one of their greatest treasures. Next to Beethoven's Fifth Symphony, Schubert's ' Unfinished' is probably the most popular symphony in the world. The Movements are as follows:-
FIRST MOVEMENT. (Moderately quick.) After a few bars of mysterious introductory music, for 'Cellos and Double Basses alone, the First Main Tune enters, a rapid one for Strings, with, soon after, a mournful strain added above, by Oboe and Clarinet together.
After a time we come to a few bars of link. for
-Horns and Bassoons, and then the 'Cellos bring in the cheerful Second Main Tune. Out of these prophetic Tunes the Movement is made.
SECOND MOVEMENT. (Gently moving along-neither fast nor slow.) This is one of the most serene pieces ever written. After two bars of Introduction for Horns and Bassoon, with Double-Basses (plucked) beneath them, we reach the First Main Tune, flowing beautifully off the bows of the Violins. After a time there comes a little link, this time for Violin alone, and then the Second Main Tune, a slow one for Clarinet, with a delicate syncopated accompaniment in the Strings fcencath. From these twin shoot3 the Movement grows.
ANACREON, or Fugitive Love, is-one of the many Operas that have been ruined by poor
libretti. Cherubini 's music had plenty of life in it, but the plot never had any. and so the work was a failure when it was brought out at the Paris Opera in 1803. The Overture sparkles along in the liveliest way imaginable, putting one in just the right mood for some operatic, happy-go-lucky tale of love-making and humorous intrigue.
DOROTHY BENNETT (Soprano) ; KEITH FALKNER
The Witch of Endor - Samuel I. Ch. xxviii, 1-25
Relayed from the PUNSHON MEMORIAL CHURCH,
Richmond Hill , Bournemouth
S.B. from Bournemouth
See Bournemouth Programme
NONE of the ' charity days ' of the year is better known than Alexandra Day , when roses, the making of which in itself gives employment to 300 cripples all the year round, are sold for the benefit of hospitals and charities for the sick. Founded in 1912, in honour of Queen Alexandra, it is being continued after her death as a lasting memorial of her sympathy with the sick. Last year over £41,000 were distributed to the hospitals and charities of London alone.
This year Alexandra Day will be held on Wednesday, June 22. Listeners who are willing to help as depot holders or rose sellers, or to lend their cars on June 21 or 22, should send their names to the Organizer[address removed]
(Picture on page 381.)
(Relayed from the Cloisters of Magdalen College,
EVERYONE likes the vitality, resource and tunefulness in the music of Dvorak, the Bohemian butcher-innkeeper 's son who became the most famous of his country's composers. He delighted to use his native folk-song as the basis or motive power of a great many of his works. and no Composer has made happier use of such melodies. His nationality nowhere comes out more strongly than in his early Slavonic Dances, originally written for Piano Duet (in which form doubtless many listeners have enjoyed playing them). These Dances first brought him fame.