MEGAN THOMAS (Soprano); REX PALMER
(Baritone) ; THE SALISBURY' SINGERS
The LONDON FLUTE QUARTET : ROBERT MURCHIE: GORDON WALKER ; FRANK ALMGILL ;
CHARLES STAINER (Bass Flute)
(Picture on page 468.)
MEGAN THOMAS (Soprano); REX PALMER
IT is not very often that a brilliant comedy actress is also a musician of distinction, but Miss Yvonne Arnaud has both strings to her bow. In fact. she toured Europe and the United States as a ' youthful prodigy ' pianist before ever she went on the stage, and, even though since then she has acted in many popular successes-she has never forsaken her first love.
Mr. George Pitsch is a Belgian
'Cellist of .great distinction.
As one might imagine, Miss Stella
A Patrick Campbell started her. stage career with all the prestige of a name made famous by her mother. Mrs. Patrick Campbell. Since then, however, she has made a name for herself in parts so diverse as Mrs. Darling in Peter Pan , Roxane in Cyrano de Bergerac and Raina in Arms and the Man.
With an address by the Rev. ARTHUR PRINGLE of Parley Congregational Church
Relayed from St. Martin-in-the Fields
Order of Service
Hymn, 'Holy. Holy, Holy, Lord God Almighty'
Thanksgiving Psalm 8
Bible reading. John iii, 1-3 and iv, 15-21
Hymn. 'Gracious Spirit, Holy Ghost'
Address by the Rev. A. Pringle
Hymn, 'Souls of Men, Why will ye Scatter'
THE REV ARTHUR PRINGLE is an ex-Chairman of the Surrey Congregational Union and of the Congregational
Union of England and Wales. Before he became minister of the Purley Congregational Church, in 1904. he was for
a time on the editorial staff of The Christian World, and he has published several books.
8.55 THE WEEK'S GOOD Cause:
Appeal by the EARL OF MACCLESFIELD on behalf of St. Mary's Hospital for Women and Children, Plaistow
This hospital is situated in the area bordering the on the great Docks, in the midst of a population of artisans and
dock labourers, to whose wives and children it is the greatest boon; but as the people financially interested in the
great works at the Docks live elsewhere, the hospital has to make its appeals outside its immediate surroundings.
At present it urgently needs £20,000 for a new Out-patient Department, to replace the obsolete building now in
Contributions should be sent to [address removed]
THE WIRELESS ORCHESTRA, conducted by JOHN ANSELL
FLORENCE Holding (Soprano)
Overture to ' The Magic Flute '
ONE of Mozart's last great works was that favourite Opera, The Magic Flute, which has been broadcast in full more than once.
Mozart was a Freemason. Freemaeonry was very much ' in the air ' at that time, and all the curious plot of The Magic Flute has Masonic ideas at its foundation.
There is much elaborate ceremonial in the Opera, and we hear suggestions of this in the impressive introduction to the Overture, and also later in its course.
After the Introduction we have the First Main
Tune. This is ' 'fugal,' i.e.. one ' voice ' (in this case an instrumental ' voice ') starts all alone with the Tune; next another voice enters, repeating the Tune at a different pitch, and so on. This First Main Tune really runs through most of the Overture. For instance. Bassoons and Clarinets continue playing the beginning of it while Oboe and Flute are playing the Second Main Tune.
With this material the Overture trips along happily and straightforwardly. with only one serious check-when we have solemn ceremonial again recalled.
L'Amero (' I will love her,' from
' The Shepherd King ')
THE SHEPHERD KINO (II Re
Pastore) is a short ' Music Drama'
(Mozart's own title) in two Acts. It is an early work. written, when Mozart was Director of Music to the Archbishop of Salzburg, for the celebrations which were arranged when the Archduke Maximilian (the younger brother of Marie Antoinette ) paid the Archbishop a visit.
This Air is one of the few extracts from the Opera that we hear nowadays. The word, run thus :-
I will love her, constant ever,
As a husband, as a lover.
For her beats my heart alone.
In so dear. so sweet a treasure
Joy I'll find, joy without measure.
Peace shall claim me for her own.
The music is quiet and expressive. and the orchestration is very interest ing, Mozart having used. among other instruments, two Cors Anglais and » Solo Violin.
ONLY a few months before his death Mozart wrote a Concerto for his friend Stadler, a fine player of the Clarinet, for whom, two years before, he had composed a Quintet having a prominent part for his instrument.
Besides the Solo Clarinet, only a small Orchestra is employed--two Flutes, two Bassoons, two Horns, and Strings. There arc, as usual, three separate Movements.
FIRST MOVEMENT (Quick). Quietly the Clarinet and Strings set out on the suave, flowing First Main Tune ; after the first sentence the Full Orchestra takes it up, somewhat loudly, and this continues for a few moments. A few loud chords and a break suggest that we have come, so to speak, to the end of a paragraph, and shall have something new ; hut the Orchestra quietly goes on discussing the First Tune.
At last the Clarinet Soloist is allowed to take the lead, and he begins by decorating the First Tune, being given a very light background of Violins and Violas.
SECOND MOVEMENT. This is well known as a separate piece. It begins with a delightful singing melody, a sustained, expressive song for the solo instrument. In a short middle section, introducing varied matter, the Clarinet begins to add some graceful decoration to the melodic outline, and this artistic elaboration is continued when the original theme is resumed. More than once in this Movement (notably at the very end) we hear the rich lower notes of the Clarinet.
THIRD MOVEMENT. Rondo (Quick).
This Finale is a very gay, dainty dance-like piece in which one Tune returns time after time.
The Soloist performs practically every possible feat, and the Orchestra provides some exquisite little touches of colour. Yet one feels all the time that ' the music's the thing.' 10.0 FLORENCE HOLDING, with Orchestra Voi che sapete ('You who know')
Non so piu cosa son I know not what I am ') (' The Marriage of Figaro)
THE first song is sung by the lovelorn page, Cherubino, who worships his mistress with dog-like fidelity. In the Countess' presence her maid Susanna twits Cherubino about a song he has written to his mistress. The Countess bids him sing it. to Susanna's guitar accompaniment. So he sings this rather plaintive song of the pangs of love.
The second song is also sung by Cherubino, who, though he is in love with the Countess, is flirting with her maid. He steals from her a ribbon that belongs to the Countess, and placates the maid by giving her a song he has written about her mistress. 10.7 ORCHESTRA ' Jupiter ' Symphony-Slow Movement and Finale
Overture to ' The Seraglio '
THE nickname was not given to the Symphony by Mozart ; but while it does not apply to the whole work, it does aptly fit the first and last Movements, which have a fine Jovian breadth and vigour about them. There are four Movements in all, of which we are to hear the Second and Fourth.
SECOND MOVEMENT. (Fairly slow, and in a singing manner.) This opens with the Strings muted, singing a lovely tune. In this spirit the Movement continues. Listen for the charming passage in which a little sixnote motif is taken by various instruments in turn in this order : First Violin, Second Violin, Bassoon, First Violin, Oboe, Second Violin, Flute, Oboe, Flute, Oboe, Flute. This sort of delicate playfulness is characteristic of Mozart.
FOURTH MOVEMENT. (Very quick.) This opens with a passage (Strings alone) in which a sober, plain-song-like theme of four notes alternates with a flippant quicker one.
Observe this and a minute later you will be interested to see how the plain-song theme is given to all the stringed instruments in turn, in the manner of a Fugue (in order, Second Violins, First Violins, Violas, 'Cellos, Double-Basses).