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Variations in G (Eight Variations composed in his 9th year)
Twelve Variations on the Air, Je suis Lindor
THE variation form has been a J- favourite one of every contrapuntal composer since the days of the English virginal writers, amongst the earliest and best-known being William Byrd 's variations on The Carman's Whistle and John Bull 's set called Les Buffons. Moreover, these two works are characteristic examples of two types of variations which have, since their day, undergone development by later composers: the one, Byrd's, representing the melodic type, while Bull's represents the harmonic or structural type Obviously, the latter lends itself more naturally to contrapuntal tieatment, and it was the type favoured by Bach, for instance in his Goldberg Variations, and in a different, but not less striking, manner by Handel. It was really not till Haydn's day that the melodic type, that is variations built around the recurring melody of the theme rather than upon its harmonic structure, came more generally into favour; and whereas Haydn's tendency was. in a number of his sets of variations, to make use of simple and popular tunes as themes, Mozart frankly, at least in his keyboard variations, used nothing else. Mozart indeed represents the extreme of the melodic form of variations to the almost complete sacrifice of the contrapuntal ingenuity that arose out of the harmonic treatment as practised by Bach. He wrote a number of sets, more than Haydn, but many of them suggest that they were written for an occasion without the expense of much thought. As a rule, they followed a formula and were planned on a regular scheme, while nearly all of them are furnished with a brilliant cadenza and appear to have been composed as concert show-pieces. As Sir Hubert Parry in his article in Groveconclusively says : ' The cases in which Mozart ventured to give a variation a thoroughly independent character are rare ... and though he used some charming and effective devices which have been used by later composers, as a rule the variations wait upon the theme too subserviently. ..............'And again: 'The chief merits of his variation-building are delicate manipulation, illustrating the last phase of harpsichord-playing as applied to the Viennese type of pianoforte with shallow key.....'


Played By:
Maurice Cole
William Byrd
John Bull
Sir Hubert Parry

A Comedy by J. O. FRANCIS
TONIGHTS production is a particularly good example of the work of amateur play - producing societies. It is interesting' not only for the fact that it is one of the five survivors in the British Drama League's competition, which shows that with regard to acting and production it is in the very first flight, but also because the play itself is of the kind that is too seldom seen on the professional stage. The Mardy Dramatic Society have chosen as their entry for the competition a play about a Welsh village and its people, instead of doing a comedy of a Mayfair drawing-room or a tragedy of a Central European slum. The Poacher is a comedy of human nature, but it is strongly localized in its idiom and its treatment. The whole issue of the struggle between respectability and ;the wild, between Chapel and the fields where the rabbits bob, is as native to its background as the plays of Synge are native to the Irish hills.


Comedy By:
J. O. Francis

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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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