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(From Bournemouth)
IN his 79th year, Sir Frederic Cowen can look back on a busy career, in the course of which he has done more for British music than could possibly be set down in one of these columns. From his eleventh year, when he gave his first pianoforte recital, until, not very long ago, he retired to at least partial and very well-earned quietude, he has been ceaselessly active in the best interests of music as a whole, and especially of the music of his own country. For many years one of the foremost conductors of the day, he has had charge, among many such interesting things, of the classical nights at the old Proms in Covent Garden, sharing these with Sir Arthur Sullivan. Then, in 1888, the year in which he was appointed conductor of the Royal Philharmonic Society, he went to Melbourne, and for six months conducted an orchestral concert every day at the Centennial Exhibition there. Sir Frederic has been conductor, too, of the Halle Orchestra, the Liverpool Philharmonic, the Bradford Permanent Orchestra, the Scottish Orchestra, the Handel Festivals, besides several of the big provincial festivals, and there, too, he has given every encouragement to his fellow countrymen. The list of his own music is an imposing one, including, four operas, as well as many smaller stage pieces, oratorios, cantatas, symphonies, overtures, concertos and shorter pieces and songs, among the latter being some which are among the best-known lyrics produced in his day. The Scandinavian Symphony - its themes leave no one in doubt what part of the world inspired it - was produced in London in 1880, and quickly won a place for itself all over Europe and America as one of the most popular orchestral works of its generation. There are four movements, of which the second alone has a name - A Summer Evening on the Fiord.

Indian Rhapsody - Cowen
Youthful Rapture (Solo Violoncello, ERNST SLANEY) - Grainger
Folk Song, Green Bushes - Grainger
Scandinavian Symphony, in C Minor Allegro moderato ; Adagio ; Vivace quasi - Cowen
Flower Fairies ; Dance of the Witches (Fairyland Suite) presto; Allegro - Cowen


Sir Frederic Cowen
Sir Dan Godfrey
Sir Frederic Cowen
Sir Arthur Sullivan.

Relayed from ST. MARGARET'S,
A T the Birmingham Festival of 1837, where Mendelssohn's St.
Paul was produced, he played the organ twice. On the first evening, besides conducting his own Midsummer Night's Dream Overture, ho extemporized on themes from two works which had been played earlier in the day, one from a Mozart Symphony, the other from Solomon. On the latter melody-Your harps and cymbals sound — he improvizod a brilliant fugue. At the Friday morning concert ho played the Bach Prelude and Fugue, which are now always heard in double harness as St.
Anne's, and by all accounts he was one of the first groat organists to unite them in that way; as Bach left them, they are quite separate pieces. Mendelssohn, in one of his letters, speaks of the two together as being likely to appeal specially to an English audience, proving himself, as so often, uncannily right in his judgment of our taste.

Relayed from The QUEEN'S HALL, LONDON
(Sule Lessees, Messrs. Chappell and Co., Limited)
Conducted by Sir HENRY WOOD
HERBERT JANSSEN , one of the outstanding figures on the operatic stage of today, was an infant prodigy; not as a singer, howover. He was only three years old when he showed amazing gifts as a pianist, and by the ago of five was appearing in concerts in his native city of Cologne and elsewhere. But a voice like his made it clear in which direction he was bound to succeed, and as quite a young man ho was engaged, immediately at the end of his studies with Daniel of Berlin, by the State Opera there. Ho has now been a member of that Company for eight years, singing all the principal baritone roles, not only in Wagner and other German operas but in the chief Italian works, too. He his scored striking successes at Covent Garden for the past few years, and is popular in Paris, Amsterdam, and the Hague. At this year's Bayrouth Festival he sang Wolfram and Amfortas.
BORN and brought up in England. Harold
Bauer has done a great deal to widen our knowledge of the best music, both old and now. Ho began his career as a violinist, appearing with success at the age of nine, and it was Paderowski who advised him to become a pianist, and gave him lessons. After a concert tour in Russia and many other parts of Europe, he made his home in Paris, but still came regularly to London year by year to give recitals. As an ensemble player, too, he has long had a place of his own in the very front rank; the trio concerts in which he joined Thibaud and Casals were memorable events. And it was he who founded the Beethoven Association of New
York, a chamber music organization to which artists give their services ; it is one of the most powerful influences in that realm of art. All over America, as in Europe, he is looked up to as a groat player to whom the highest ideals of music matter far more than woalth or personal renown, and the world's debt to him could not be easily assessed.
Overture, Coriolan ................ Beethoven
Aria, Die Frist is um (The Term is past) (Tho
Flying Dutchman) ................ Wagner
Symphony, No. 1, in E Minor ........
Sibelius Andante , Allegro energico ; Andante ; Scherzo ; Finale quasi una Fantasia, Andante, Allegro
, at 9.0


Herbert Janssen
Harold Bauer
Arthur Catterall
Conducted By:
Sir Henry Wood
Conducted By:
Herbert Janssen
Herbert Janssen
Sibelius Andante

THE old legend of Faust and his bargain with the Evil One has attracted dramatists and composers throughout the ages, and Liszt more than once made parts of the tale the bases of his own music. His Faust Symphony, setting forth in orchestral music different episodes of the story, has more than once been broadcast, and so has his waltz.
The episode which this describes shows us Faust and Mephistopheles on a country walk together. They come to a village inn where there has just been a wedding and the guests and villagers are dancing in merry rustic fashion. Faust is immediately attracted by one of the village lasses, and Mephistopheles urges him to invite her to dance.
Then, taking one of the player's fiddles from him, he boasts that he will show them how dance music should be played. His wild music sets the dance going more madly than ever, Faust and his lady as gaily as anyone. In the midst of the revelry, the pair dance out through the open door, away to the woods, but even there the sound of Mephistopheles' wild fiddling pursues them.

National Programme Daventry

About National Programme

National Programme is a radio channel that started transmitting on the 9th March 1930 and ended on the 9th September 1939. It was replaced by BBC Home Service.

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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