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Sonata in A (Op. 101). First and Second
IN The Foundations of Music Series a good many of Beethoven's earlier
Pianoforte Sonatas have now been heard. Those which Mr. Dunn is playing this week come from the Composer's later years, roughly from 1816 to 1822. and. with the last Quartets, which belong to the four years following this latter date. they represent the matured mind of the master at work upon problems of expression in which he attained heights that no musician had before aspired to reach.
We find him. in his search for a deeper. fuller exposition of his thoughts, sometimes adapting and moulding the old forms anew. and even breaking the moulds altogether and creating fresh ones to hold his ever-widening ideas.
The Sonata in A. Op. 101. of which we are to hear the First and Second Movements, is a fine example of this free adaptation of the design to the Composer's new artistic and expressive ends.
The Sonata begins with a sweet and delicately lovely Movement, and goes on to a March, abounding in springing rhythms and declamatory vigour.
The remainder of the Sonata will be played tomorrow evening.


Played By:
John Petrie

THE BARTERED BRIDE, which is always considered to be Smetana's best Opera, is a comedy — in parts, indeed, more a Musical Comedy than an Opera. It is full of humorous incidents of Bohemian peasant life. and reproduces on the stage a village festival, gipsy jugglers, a comic village band and the like, with, of course, some village love-making of a light-hearted sort.
THE IMPRESARIO is a short work which
Mozart modestly called 'a comedy with music.' It is all about the trials and troubles of a theatrical manager who has to put up with the foibles and jealousies of ' star ' performers. Mozart must have written it with gusto, for he had a good deal to do with operatic singers, who were thorns in the flesh of composers and managers alike.
The Opera in its original form only had occasional performances, owing chiefly to a good deal of foolish dialogue which it contained. Adaptations were tried with but little success, until Mr. Kingsley Lark recently made a new translation and arrangement from the original German, and the work in this improved form was broadcast a year or two ago.
It contains some of Mozart's best music.
The Overture is (considering the small size of the work as a whole) surprisingly long and complex. It starts showily, and goes on to treat some charmingly vivacious tunes.

FOUR years of broadcasting have produced no microphone personality more distinctive than that of Mr. A. J. Alan. His gift defies definition as it frustrates imitation ; like the charm of Lily Elsie and the humour of Grock. it is inimitable and unique. Tonight he will tell of some adventures that befell him in connection with a mysterious suit-case in a train; but. as ever, it is his way of telling rather than what he tells that counts.


Mr. A. J. Alan.
Lily Elsie

GRANADOS (1867-1016) found inspiration for his most important compositions in the work of Francisco Goya. the celebrated painter of scenes from Spanish life. He composed a set of Pianoforte pieces called Goyeseas, giving in another medium impressions of the scenes depicted by the artist. He also made an Opera out of the episodes he treated in these Pianoforte suites, and it is from this latter work that we are to hear an extract, in an arrangement for Military Band.

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