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From the Czech Operas
Grand Symphony Orchestra : Selection, Jacobin (Dvorak)
Carles Kullman and Eugene Fuchs :
When you're in love (The Bartered Bride) (Smetana)
Erna Berger , Ruziczka, Zador Beck ,
Grossman and Fuchs: Linger a little longer, Marie (The Bartered Bride)
Theodor Scheidl (baritone) with Chorus and Orchestra of the Berlin
State Opera House: Ich bm dcr
Schwanda; Wie kann ich den vergessen (I am Schwanda; how can I forget ?) (Schwanda the Bagp.per) (Weinberger)House
The Berlin State Opera House
Orchestra : Furiant (Schwanda the Bagpiper) (Weinberger)


Carles Kullman
Eugene Fuchs
Erna Berger
Zador Beck
Theodor Scheidl

Conductor, Sir Dan Godfrey Audrey Piggott (violoncello)
Relayed from The Pavilion, Bournemouth

Tchaikovsky's Third Suite (the third of five) has almost the proportions of a symphony, with the big set of variations taking the place of the finale. But the Theme and Variations movement has now been performed apart from the other movements so frequently in recent years that it is now practically a self-contained concert piece.
The work is one of the greatest of its kind, and ranks with the famous sets of variations by Brahms, Dvorak, and Klgar. Every device of form and instrumental colour is employed by Tchaikovsky, who was a consummate master of both, and the music is delightfully varied and interesting. The construction is that of an Air (introduced on the strings alone) and twelve variations, of which the last and longest is a brilliant and exceptionally brassy Polonaise.
Arnold Bax's 'Cello Concerto, the only work in this form he has written, had its first performance only this year. It is a splendid and welcome addition to a 'cello and orchestra repertory that -has for long needed extension and overhaul.

Symphony No. 4 in E minor...Brahms
1. Allegro non troppo; 2. Andante moderate; 3. Allegro giocoso; 4. Allegro energico e passionato
Brahms's Fourth Symphony has certain qualities which separate it from the other three in mood and structure. It has, for example, an austerity that only an artist self-disciplined in emotional art could have exercised, and a plan that only the practised architect in musical form would have based a symphony upon. While the second symphony is still the most popular, the third the most classically perfect, the fourth will yet, in all probability, excite the most admiration.
The first movement opens straight into the first subject on the violins - a simple, rocking tune, but with an extraordinary sense of pace. Pace, relentless, inevitable, and essentially Brahmsian, is, indeed, even more evident in this symphony than in the others-pace, not speed, but a movement forward. For example, the second subject on the horns and 'cello is introduced more like a silent gear-change than as something new.
The second movement, lovely, tender, is built, like the first, on two themes; an opening figure on the horns, and another, beautiful, brooding, on the 'cellos.

The Scherzo is prevailingly boisterous.
The finale is fashioned as a passacaglia; that is, the whole movement is built over a recurring eight-bar 'ground', repeated over and over again. The theme of the ground, given out at once on the wind and brass, is of the simplest scale and cadence type. It appears variously as bass, as melody, as inner part, but is ever present, and is clothed all through with richness and dignity.


Sir Dan Godfrey
Audrey Piggott

The Foundations of English Music
Under the direction of Sir RICHARD RUNCIMAN TERRY
Early English Carols, sung by JOHN S. WARDALE , TAYLOR HARRIS , and small chorus:
I. There is no rose of such virtue 2. Pray for us the Prince of Peace 3. Nowel sing we
4. Nowel this is the salutacion 5. Make we joy now of this fest 6. Prallimus Cantantes
7. What tidings bringest thou, messenger ?
8. As I lay upon a night 9. A heavenly song
10. Now well may we mirthes make 1 1. This enders night 12. David ex progenie


Sir Richard Runciman
Sung By:
John S. Wardale
Sung By:
Taylor Harris

As many listeners have been to Cornwall for their holidays and many more will have been there in previous years, it is suggested that A. K. Hamilton Jenkin should give a talk on the three Cornish industries : smuggling, wrecking, and fishing. The first, of course, is a thing of the past, the second very nearly so, while the third is still in evidence, but unfortunately decaying.
Mr. Hamilton Jenkin will have plenty of interesting things to tell of smuggling, which flourished in Cornwall well into the nineteenth century. The little rocky coves in the west of Cornwall were the ideal places for the smugglers to run ashore and get rid of their contraband cargo of brandy, rum, lace, tobacco, and tea, which was then carried off to be sold in the towns and villages.


A. K. Hamilton Jenkin
Mr. Hamilton Jenkin

(Section C)
Conducted by THE COMPOSER
Overture, Beginners, Please ! Suite, Three Old Dances
I. Bourrée; 2. Minuet; 3. Gigue
Intermezzo, Fairy Dreams Tango
Valse Coquetterie
Suite, Three Mask Dances
Although Arthur Wood is a Yorkshire-man, born in Heckmondwike in 1875, he is claimed by Sir Dan Godfrey , in his book ' Memories and Music', as ' in a sense, a Bournemouth product ' This is only just, for as a flautist in the Bournemouth Municipal Orchestra. and occasional solo pianist, he gained a first-class experience in orchestral playing, scoring and conducting.
' He was remarkable', observes
Sir Dan, ' for his close observance of every instruction I gave to the various players. He was, obviously, out to learn all he could about the orchestra and the art of conducting.....'
This observance served him well ; indeed, it was while he was at Bournemouth that he was offered the conductorship of Sidney Jones 's Lady Molly, an early opportunity with which he later made good at various London j theatres, particularly the Shaftesbury, the Gaiety, and, as Music Director from 1922, at Daly's.


Laurance Turner
Arthur Wood
Sir Dan Godfrey
Sidney Jones

This listing contains language that some may find offensive.

Conductor, .B. WALTON
From the very first, military bands have given the Sullivan ' Savoy ' music their closest affection. On every pier and bandstand in the kingdom selections from the famous Gilbert and Sullivan comic operas were heard, almost too frequently, for years. The bands have never had a more accommodating friend than Sullivan, who wrote music they could play with ease and pleasure, and with certainty of appreciative applause. And the pleasure and applause persist to this day.
Of the operas in tonight's programme only two were written in collaboration with Gilbert— H.M.S. Pinafore, first put on at the old Opera Comique in 1878 and running for 700 performances, and Ruddigore, produced at the Savoy Theatre in 1887. The text of Haddon Hall (1892) was by Sydney Grundy, and that of The Rose of Persia (1899) by Basil Hood.

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