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MEGAN Thomas (Soprano)
Tony CLOSE ( Violoncello)
Conducted by B. WALTON O'DONNELL
.RICHARD STRAUSS describes his opera, The Rose
Bearer, as a Comedy for Music. To the ordinary listener it is much the easiest of all his works to understand and enjoy. There is nothing abstruse or unkindly in it, and the Waltz tunes in which it abounds make it plain how rich a vein of natural melody is his to draw upon when he chooses.
The opera is based on an old custom of a bygone age; a suitor used to arrange for a suitable messenger to carry a silver rose to his lady love in token of his devotion. The Rose Boarer in the opera is so much younger and handsomer than the real suitor that the lady is at once attracted by him, and the youth makes no secret of his admiration for her. In their duet they have already confessed something of their feelings for each other, before the rough and ready Baron arrives on the scene to press his suit. The opera has been criticized on the ground that at the old period in which it is set a waltz is really an anachronism. The effect is, however, so wholly pleasing that no one need worry about any such historical inaccuracy. Strauss has shown that he can compose waltzes of the most melodious order, in every way worthy rivals of ; those by his two great namesakes.
THE eighth, one of the brightest and most good-humoured of Beethoven's symphonies, was composed mainly during a visit which Beethoven paid to his brother Johann in Linz in 1812. He and his brother were at loggerheads over Johann's matrimonial "affairs, and Beethoven was, besides, in bad health. But there is no hint of trouble nor' despondency in the music, and indeed, when the Symphony appeared, it was criticized as being too lighthearted to be worthy of the great Beethoven.
This slow movement especially was though to be so wanting in seriousness that the Symphony was afterwards played with the great slow movement of the seventh added to it. The fallacy of any such criticism has long ago been recognized, and the whole work has as sure a place in the world's affections as any of the others.

In Welsh
S.B. from Swansea
Trefn y Gwasanaeth
O flaen y Gwasanaeth, chwareuir ar yr Organ
Andante in A Flat (Batiste)
Emyn, Rhif 746 (Llawlyfr Moliant) Ton 'Henryd'
'Ysbryd byw y deffroadau'
Darllen Gair Duw
Emyn, Rhif 613 (Llawlyfr Moliant) Ton 'Islwyn'
'Arglwydd, melus ydyw cerdded'
Casgliad' &'r Cyhoeddiadau
Unawd, gan Madame ANNIE DAVIES Emyn, Rhif 417 (Llawlyfr Moliant) Ton 'Pembroke.' R'wyn gweld o bell y dydd yn dod 'Pregeth'
Emyn, Rhif 629 (Llawlyfr Moliant) Ton 'Y Delyn Aur' 'Dechreu canu, dechreu cammol'
Y fendith Apostolaidd
(Daventry only)

THE Distressed Gentlefolks Aid Association dates from 1897, when a few friends resolved to form an association with the object of collecting and administering funds for the purpose of relieving distressed gentlefolk by grants, or by helping them to get employment. It was able to collect that year about £800. The amount was expended in weekly grants of small amount and in gifts to persons temporarily in distress. Since then, the work has gone on steadily increasing: until last year about £6,500 was expended on relief of this nature. The persons assisted are men and women of gentle birth who in nearly all cases are so infirm, or weakly, that they can do little to help themselves. What aid the Association can afford is given promptly and quietly, the office of the Association being at the home of the Secretary, Miss Finn, [address removed].

Conducted by G. LESLIE HEWARD
Mozart was not quite nineteen when this opera,
The Pretended Lady Gardener, was produced. The Elector of Bavaria had commissioned it for the Munich Carnival of 1775. It had a remarkable success, and the theatre was packed, although the more critical section of the public had doubts about it. It was pretty soon forgotten, although Mozart afterwards revised it considerably for later performances, and it is now recognized as in many ways masterly. The handling of the involved story foreshadows in a striking -way the big ensembles in Figaro and Don Gio vanni, and Mozart made the very most of the many possibilities which the amusing story gave him.
The Overture, no more than an introduction to the opera, is in two movements, Allegro and Andante.

5XX Daventry

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About this data

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