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BRAHMS' VIOLINn SONATAS
Played by MARJORIE HAYWARD (Violin)
- and O'CONNOR MORRIS (Pianoforte)
THE D Minor Sonata (dedicated to his friend,
Hans von Bülow) begins at once with a big broad theme on the violin, the pianoforte accompanying with his right hand half a beat after the left. A little transition passage is made up from the first big theme, and then the pianoforte plays a second subject, another noblo melody, and after that the course of the movement is perfectly clear. Towards the end there is a fine section built up on a pedal base.
The slow movement, quite short, is among the most beautiful of all Brahms' big conceptions. The theme itself has all tho simple dignity of a fine old song.
The third movement has been called fairy-like, and is indeed, delicate and nimble, with moments of vigour and crisp energy. It is practically in the Scherzo and Trio form-a first section with a contrasting middle part, after which the first returns.
The last movement is bold and strong, beginning with a theme of quick, restless energy, on which a calmer mood breaks in more than once.
And like many of the world's great possessions, it is music which anyone may enjoy for its sheer melodic beauty and strength, whether or no he counts himself an educated hearer.

'The TRUMPETER OF SÄCKINGEN' is a long, romantic story in verse by von Scheffel, which was immensely popular in the middle of last century. It ran through more than 250 editions, and among its enthusiastic admirers numbered such great people as William the First. Tho Trumpeter, in the service of a noble Lord, is in love with his master's daughter, but his humble station is a bar to any thought of marriage. At the very end it is accidentally discovered that he is him-' self of noble birth, having been stolen in infancy by gypsies and the story ends with wedding bolls.
It was used as the subject of an opera by' Nessler, which is still popular with those who like' their music and drama to be. of the frankly sentimental order. On a very different artistic plane are the songs from it which Henschel composed as long ago as ' the seventies,' setting forth their finely romantic qualities as only a great musician and singer can do. He is to sing four of them this evening.
The first tells of a rock which stands out from the sea-shore with sea-gulls flying over it, and of a ship from which the sound of singing comes. And it wakes in the singer's heart a thought of his homeland on the Rhine where he would so gladly be.
In the second, we are to suppose the singer riding alone through the night. The summer night; each verse begins, has cast a spell on him. and all things about him, the stars overhead, tho nightingale's song, and the sound of the sea, remind him of the beloved from whom he is parted.
The scene of the third song is the green lake of Nemi, on whoso shore a minstrel is singing a sad song. But there is, too, a fair inn, and the singer reflects that under its kindly roof the minstrel might well drown his care.
The fourth song which Sir
George has chosen from the set of eight, is addressed to a Roman maid, asking her why she casts her splendid glances on him, for beyond the Rhine there is a rose-grown grave, where the beloved sleeps.

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