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JOHN FRY (Violin)
ARTHUR BAYNON (Pianoforte)
Three eighteenth-century Sonatas for Violin and Pianoforte:
HENRY ECCLES was the second son of Solomon Eccles, or Eagles, the curious character known to all schoolboys as the man who ran about London during the Plague of 1666 in a state of nudity with a brazier of burning brimstone on his head exhorting the people to repent. As a matter of fact, Solomon was a musician of parts, although always an eccentric. Henry appears to have been sane enough, although it is true he imagined himself neglected in England, where he was a member of the King's Band, and went to Paris, becoming a violinist in the Band of the King of France. He wrote sonatas for the violin and the viola, somewhat in the style of Corelli, whose influence in Paris at that time was profound.
CHARLES JOHN STANLEY, who was blind from the age of two years, provides one of those remarkable instances of musical success in the face of so great a handicap. He held the post of organist at various churches, including St. Andrew's, Holborn, and the Temple, and later in life succeeded Boyce as Master of the King's Band of Music. Burney recalls of him that he was 'a neat, pleasing and accurate performer, a natural and agreeable composer, and an intelligent instructor.' He was at one time closely associated with Thomas Linley, and Gainsborough painted his portrait.

Contributors

Violin:
John Fry
Pianoforte:
Arthur Baynon
Unknown:
Henry Eccles
Unknown:
Solomon Eccles
Unknown:
Charles John Stanley
Unknown:
Thomas Linley

Mendelssohn's Pianoforte Music
Played by Gertrude Peppercorn
Prelude in B Minor
Four Songs Without Words, Nos. 22, 34, 35, 45
The Songs Without Words were originally published in London by Novello, under the title of 'Original Melodies for the Pianoforte'. It was later that the inspired label was attached to them. Mendelssohn was often asked what some of these pieces meant. He was unable or unwilling to say. 'A piece of music expresses to me,' he wrote in a letter, 'thoughts not too indefinite to be put into words, but too definite ... If you ask me what were my thoughts when composing the Songs Without Words, I say "Just the songs as they stand.'" In another, he asks the question 'Have not notes as distinct a meaning as words—perhaps even a still more distinct meaning?' As a matter of fact, he wrote them and used them as thoughts. ' I should like to be with you and see you and talk to you,' he writes to Fanny, his sister. 'As this is impossible, I have written you a song to let you know what I wish and mean.' And on another occasion, 'felt this when I received your half anxious and half cheerful letter.' With both letters were enclosed a manuscript 'Song without Words'.

Contributors

Pianist:
Gertrude Peppercorn

By DAVID WISE
MARIE THERESE VON PARADIS was blind from a child. She was the daughter of an Imperial Councillor in Vienna, god-daughter of the Empress, and a woman of remarkable intellectual gifts. She played the pianoforte, the organ, sang, composed, and taught, and did them all very well. She toured the continent, came to London and. while there, accompanied the Prince of Wales in a 'cello sonata, and, returning to Vienna, founded a music school for girls. Mozart wrote a pianoforte concerto for her, and operas composed by her were put on in Vienna and Prague.
ERNEST BLOCH was originally a Swiss composer, and as a younger man made a career in Geneva, not only as a musician, but, in his spare time, as a lecturer on Metaphysics at the University. In 1916, however, lie went to the United States as a conductor to Maud Allan on tour, was there invited to conduct one of his works with the Boston Symphony Orchestra, and thereafter settled in New York. He is now, therefore, according to American somewhat acquisitive standards, a one hundred per cent.
American composer, and Swiss merely by an accident of birth. As a musician, however, his reputation is international and rapidly rising.

Contributors

Unknown:
David Wise
Unknown:
Marie Therese
Unknown:
Ernest Bloch
Unknown:
Maud Allan

Relayed from The QUEEN'S HALL, LONDON
(Sole Lessees, Messrs. Chappell and Co., Ltd.)
Schubert
ISOBEL BAILLIE
THE B.B.C. SYMPHONY ORCHESTRA
(Principal First Violin, CHARLES WOODHOUSE)
Conducted by Sir HENRY WOOD
Overture, Rosamunde
Symphony No. 8, in B Minor (The Unfinished)
1. Allegro moderato; 2. Andante con moto
It is either by coincidence that the instrumental part of tonight's Prom, programme is exactly that given by the Berlin Philharmonic Orchestra when they visited Queen's Hall some months ago, or it may be accepted as a fact that the overture and the two symphonies now to be performed are far and away the most popular of all Schubert's orchestral works.
In these circumstances it is a comforting reflection that much of the Itosamunde music, and, of course, the Unfinished Symphony were both rescued from possible oblivion almost by accident.
This overture, however, did not originally form part of the music written for the very stupid play of Rosamunde, Princess of Cyprus, which was hopelessly unworthy of Schubert's attention. Actually, the overture was composed for a melodrama entitled The Magic Harp, and it was performed as such at the Theater-an-der-Wien in 1820. Three years later Schubert wrote the Rosamunde music, including an overture since called by another title, Alfonso and Estrella, The Magic Harp overture now being known as Rosamunde. The confusion, however, is not of the slightest importance, the respective texts having been dead and forgotten for a hundred years while the music alone lives on.
ISOBEL BAILLIE and Orchestra
Aria, The Shepherd on the Rock
(Clarinet Obbligato, FREDERICK THURSTON )
THIS song, the text of which is little more than the idle soliloquy of a shepherd, may possibly be the last song Schubert wrote, although there is no actual proof of it. It is far longer than most of his songs, and is something in the style of an operatic aria. It was written for a Berlin opera singer with a remarkable voice, who pestered Schubert to write her something on winch she could bite. The last part of it, a particularly gay movement, might almost have been written by Rossini.
ORCHESTRA
Symphony No. 7, in C
1. Andante, Allegro non troppo; 2. Andante con moto ; 3. Scherzo : Allegro vivace; 4. Finale: Allegro vivace
THE manuscript of this Symphony can
-L never be said to have been dangerously lost as was the Unfinished ; but it might have been much longer in coming to the light of day had not Schumann dug deeply into the manuscripts taken over on Schubert's death by his brother Ferdinand, and discovered this symphony amongst them. Schumann sent it to Mendelssohn, who was then conductor of the Gewandhaus in Leipzig. Schumann wrote an article on the work after the performance, and it is to him that we owe the phrase, always connected with this symphony, ' heavenly length.'
, at 0.0

Contributors

Unknown:
Isobel Baillie
Conducted By:
Sir Henry Wood
Unknown:
Frederick Thurston

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.

Appears in

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