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WHEN wo see pictures of speed-boats dashing about at incredible velocities, with their bows several feet out of tho water and their stems apparently balanced on a mass of white foam, we sigh and say, ' How nice to be rich enough to have one cf those ! ' And it is true that racing motor-boats are an expensive taste. But a cruising boat can actually be cheaper than a car, and it is of ' motoring afloat' as a sport, a pastime, or a holiday well within the reach of the middle classes, that Mr. Faire will talk today.

Relayed from the Queen's Hall
Sir HENRY J. WOOD and his
SYMPHONY ORCHESTRA
NOEL EADIE (Soprano)
GREGORY STROUD (Baritone)
JAMES CHING and VICTOR HELY -
HUTCHINSON
(Two Pianofortes)
ROBERT MURCHIE (Flute)
THE MARGRAVE OF
BRANDEN BURG of Bach's time was an enthusiast for music, and he commissioned Bach to 'Write some works for him. In 1721 Bach had completed his contract and sent the noble Margrave six of his most attractive compositions, now known as the Six Brandenburg Concertos. It is the sixth nf these that we are now to hear.
Bach wrote this Concerto in six parts, two for the Viola da Braecia ('arm Viol '—played as the Violin is played), two for the Viola da Gamba (or ' knee Viol '—a forerunner of the 'Cello), one for the ordinary 'Cello and one for the ' Violone' (Double Bass), with a part for a keyboard instrument, to help fill in the harmonies. Nowadays, the parts are divided into two for Violas, three for 'Cellos and one for Double Bass.
The absence of Violins (a very rare thing in a work for Strings) gives a curious colour to the tone.
BACH sometimes made arrangements of his pieces for various combinations of instruments. This Concerto is one of three for two Pianos, but only one of the works was originally written for keyboards.
We do not know with certainty what the original form of this was; it seems likely, however, that it is an arrangement of a Concerto for Violin and Oboe, which, in that form, has disappeared.
There are three Movements. the first and last lively, and the middle one a dialogue between the two instruments, upon a beautiful calm melody.
THIS Suite, a lovely example of Bach's instrumental style, consists of (1) an Overture,
(2) a Rondo (a short tune constantly recurring, alternated with other passages), (3) a stately dance, a Sarabande, (4) a lively dance, a Bourree (or rather two Bourrées alternated), (5) a Polonaise, with a Variation upon it, (6) a Minuet, and (7) a jolly little piece called Badinerie, i.e., ' Playfulness.'
THIS Concerto comes nearer than the one already played tonight to the modern form in which a Soloist (two in this case) ' plavs a conspicuous part on an orchestral background.
It consists of three Movements.
First Movement. A Quick Movement in which the two Pianos are played mostly in a kind of dialogue.
Second Movement. A Slow Movement for the Pianos only.
Third Movement. A Fugue written on a bright tune. In this vigorous Movement the instruments enter in turn, first one Piano, then the second Piano, then the stringed instruments working downwards.
THIS is a collection of six Bach pieces, nearly all taken from his music for keyboard instruments. Sir Henry Wood has scored these pieces for modem orchestra, but in doing so ho has tried to adhere faithfully throughout to the spirit of the original.

ORCHESTRA Sixth Brandenburg Concerto - Bach
NOEL EADIE, with Orchestra Sighing, weeping (Cantata No. 21) - Bach
Patron ! Patron ! (' Phoebus and Pan ') - BachBach
JAMES CHINO and VICTOR HELY-HUTCHINSON, with Orchestra First Concerto for Two Pianos and Strings, in C Minor - Bach
ROBERT MURCHIE, with Orchestra Second Suite for Flute and Strings - Bach
GREGORY STROUD, with Orchestra To dancing and frolic ('PhÅ?bus and Pan ') - Bach
JAMES CHING and VICTOR HELY-HUTCHINSON with Orchestra Second Concerto for Two Pianos and Strings, in C - Bach
ORCHESTRA Sixth Suite for Orchestra - Bach, arr. Wood

5XX Daventry

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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