CAMP-LIFE amongst the glorious scenery of the Canadian Rockies is one of the best
Possible ways of enjoying Nature in all her moods. Most of us cannot hope ever to spend such n holiday. but Mr. C. Henry Warren—known to listeners as a broadcaster of his own short stories -will give us a chanco to enjoy his experiences at second hand.
: Folk Songs by Helen Henschel. The Story of 'The Pirate' (Christine Chaundler). ' Pictures —how to look at them and what they should mean
MISS HELEN HENSCHEL is one of the people who sing folk-songs really well. She is known to all regular listeners and is always popular in the Children's Hour. (One shrewdly siispect3 that much of the charm of her ' interpretation ' is inherited from her father. Sir George Henschel , who is an eminent musician.)
During the past two years several attempts have been made to include in the Children's Hour programmes simple. pleasant chats on pictures-how to look at them and understand them. famous paintings that one ought to know nbout. and so on. So far there have been difficulties of various sorts, but to-day it is hoped that a start will be made to carry out this long -cherished plan — even though, at the moment of going to Press, the details are not complete.
ANGORA, the capital of the modern, Western-Aized, anti-historical Turkey, is one of the most interesting cities of the present day. A centre of Government where nobody but officials lives, where Ambassadors camp out in railway cars and everything is dominated by the stem figure of Keinal Pasha, the maker of the new Turkey. Miss Ellison has spent much time in Angora and interviewed Kemal several times, and she has much of the first interest to tell her listeners tonight.
The Sonatas of Beethoven
CYRIL SHIELDS (Conjurer)
FLORENCE OLDHAM and ALMA VANE
Sir HENRY J. WOOD and his SYMPHONY
ALICE MOXON (Soprano); HEDDLE NASH (Tenor)
Solo Violin, ELISE STEELE
Solo Horn, AUBREY BRAIN
Relayed from the QUEEN'S HALL, London
NOT many composers score a hundred
Symphonies, even in a lifetime. Haydn achieved this feat, but of course those were the . early days of the Symphony, and, compared with a modern Symphony, those of the eighteenth century are simple little trifles.
Still, however simple and unpretentious,
Haydn's Symphonies are delightfully fresh and tuneful, as we may well judge from his Symphony in E Flat. now to be played.
MOZART was always at his friends' service : if they wanted something to play on a special occasion, whether it were for Flute. Horn. Bassoon, or any other instrument, he could and would throw off a piece for them. One of his friends was the French Horn player Leutgeb, for whom he wrote quite a number of pieces, usually putting some bantering remarks on the music paper. One. for instance, is inscribed ' Wolfgang Amado Mozart takes pity on Leutgeb. ass, ox and simpleton, at Vienna, March 27, 1783.'
In each of these works for Horn Mozart reminds us that the instrument was once used in the chase, by writing passages such as we are accustomed to hear from the curly hunting-horn.
The Fourth Concerto for the instrument (it is numbered K. 495) contains the usual three Movements, a brisk, ingenious First Movement, an enchantingly melodious Romance, and an in-spiriting Rondo, in which the soloist can show off his paces finely.
Mr. Aubrey Brain is already known to a great many listeners as one of the finest living players of the Horn. if not the very greatest.
MOZART in his youth wrote much fiddle music. some of it, including this Concerto, for his own performance. He was only nineteen when he wrote this one, but it was his fourth. (Its identification number in the list of his works is K. 218. It is in the key of D.).
The Concerto is lightly scored for two Oboes, two Horns and Strings (no Trumpets and no Drums), and it is in the usual three Movements.
TEN days could hardly be called an unduly
-L long time to take over writing a Symphony ; yet Mozart took no longer over this G Minor Symphony, one of the last he wrote, and generally considered among the very finest and most original of all his orchestral works. Its identifying number is K. 550.
Of its four Movements the FIRST is quick and bustling-full of restless energy and dramatic fire, with an undercurrent of anxiety and mystery running through it.
THE SECOND MOVEMENT comes as a beautiful, restful relief after the agitation of the First.
THE THIRD MOVEMENT is a cheerful, rather ceremonious Minuet.
THE Fourth MOVEMENT is the sweeping, rushing Finale,' whose speed never slackens, though there are moments of tranquillity.
IF Tchaikovsky had written nothing but this delightful set of character pieces, his name would have been almost as familiar as his Pathetic Symphony and all the other big and serious works have made it. The Nutcracher pieces run as follows :—
A little Overture; March ; Dance of the Sugar-Plum Fairy: Russian Dance, or Trepak; Arab Dance ; Chinese Dance : Dance of the Reed-Pipers; Valse of the Flowers
The pieces were written a for Ballet in which a pair of Nutcrackers comes to life in a child's dream.
THE Rubaiyat of Omar Khayyam is the only
Persian poetry at all -well known, in translation, in this country, but it is obvious that such a masterpiece would not spring up suddenly without predecessors or successors, and in point of fact the poetry of Persia well repays study. Sir Denison Ross. the Director of the School of Oriental Studies and Professor of Persian in the University of London, is the author of many works on the literature and history of the Near East.