Programme Index

Discover 9,871,860 listings and 221,037 playable programmes from the BBC

ALBERT VOORSANGER (violin) (By permission of the Folkestone Corporation)
Relayed from
The Pavilion, Bournemouth
The Concerto was composed in 1920, and is in conventional three-movement form. There is no ultra modernism about the conception or the working out through the orchestration, and the treatment generally shows a thorough grasp of the opportunities that have been afforded to present-day composers by the recent enormous developments in the technique of writing for modern ears.
The first movement is vigorous and healthy in character. After a short introduction, the solo enters with the first subject and continues, also giving us the second tune (and, indeed, most of the development, too) until a short cadenza heralds in the return. A like device also gives us the recapitulation of the second subject, which works to a climax and finishes the movement with a brilliant statement of the vigorous material.
The slow movement is just a beautiful tune by the solo, accompanied in a sympathetic fashion on the orchestra.
The Finale betrays the country of the Composer's birth. Starting somewhat originally with a cadenza (marked 'Burlescamente'), it soon rushes into a semi-humorous Irish affair, which just bubbles along merrily, except for a respite in the way of a Pastoral-like second subject, until the brilliant end is reached.
(Founded on Longfellow's Poem)
(Conducted by THE COMPOSER)
This is the second performance of Sir Frederic Cowen's latest orchestral work, The Magic Goblet, which is founded on Longfellow's poem called 'The Luck of Edenhall'. This was the name given to a crystal drinking glass, for on its preservation was supposed to hang the fate of the house and its inmates. According to the legend it was the gift in bygone times of the Fountain Sprite who wrote on it, 'If this glass doth fall, Farewell then, O Luck of Edenhall'. In the poem, which the composer has sought to depict in music, the young lord of Edenhall is holding drunken revelry in the banqueting hall with his retainers. In a fit of recklessness he proposes to try the truth of the Sprite's prophecy and calls for the magic goblet.
His faithful old servant, loth to disobey, takes slowly the glass from its cloth and in fear and trembling brings it to his master. A mystic purple light shines from it over all. Then says the young lord, ' 'Twas right a goblet the Fate should be of a joyous race like ours, so let us drink "Kling, Klang" to the Luck of Edenhall !' First it rings deep; then like the roar of a torrent, then dies away in mutterings. But still unconvinced, he smashes the goblet and, even as it breaks the foe rushes in, the place is set on fire and the guests are overcome and slain. On the morrow the old servant, alone and unharmed, seeks the body of his master who lies dead among the ruins, still holding in his hand the shattered remains of the fateful glass.
As famous symphonies go - and this is a very famous one - the New World Symphony is not so very old, and yet old enough to have established its right to the more or less fickle immortality which time bestows on works of art. By 1893, when it was composed, Brahms had finished writing symphonies, so nearly had Tschaikovsky, and as, with the exception of Elgar, it is difficult to point to anyone who has


Sir Frederic Cowen
Sir Dan Godfrey
Albert Voorsanger
Frederic Cowen

A Play in Three Acts by GEORGE BLAKE
(From Glasgow)
This play, as well as its title, is Clyde-built, for its author was a young Glasgow pressman twelve years ago when it was first produced by the Scottish National Players. It has weathered the years-unlike the ship that plays so potent a part in it-the North Star. But then, though she was built on the Clyde, she was jerry-built by interlopers, Mersons Ltd., and she foundered in the first gale.
If this play was only about the Clyde and shipping, it might have had no longer a life, but, as the author with some tenderness confesses, it is the love story of Jean Bannerman. We see the story unfold from three points of view. The firm of Crockett has been building ships' boats for nearly a century, and Jean's honest and unpretentious grandfather, Matthew Crockett , has retired, leaving affairs in the hands of his son, Tom. The old people believe that things are still prosperous, and get their awakening.
Then there is the point of view of Tom, Jean's uncle, and of Helen, her ambitious aunt, who, to stave off bankruptcy, would sell the business to the Mersons-and sell Jean, too. For Stanley Merson would make that part of the bargain.
Lastly comes Jean's point of view.
She loves Captain Harry Douglas , whose first ship is to be the North Star on her maiden voyage. But Jean's mother will not hear of her marrying a sailor because the girl's father was lost at sea. In a poignant farewell she cries : ' Take me and kiss me and hold me-close, close close !'
She is left alone in spirit in the house at Greenock, overlooking the Clyde. Time passes and the North Star is reported overdue and then lost. Pressure to marry Stanley Merson is brought to bear on her by nearly everyone. What does it matter whom she marries now Harry is dead ? The bargain is to go through ; Crockett's to be sold. But Jean's grandmother says : ' It's sellin' an immortal soul that makes me feel like killing somebody'.
That is the situation, steeped in tragedy and pity and human suffering, which leads up to the drama of the last act. George Blake wrote stuff to endure when he wrote Clyde-Built. Twelve years old it may be, but it doesn't date, because our loves and passions and cupidities have a way of not changing.


George Blake
Jean Bannerman.
Matthew Crockett
Stanley Merson
Captain Harry Douglas
Stanley Merson
George Blake

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