' Washington, and the Problems of Deliberate Monumentality in the Planned City,' by Nikolaus Pevsner
' The Dulwich Gallery': three painters-Mary Potter , Tom Monnington , R.A., and Leonard Rosoman-speak about some of the pictures they enjoyed at the current National Gallery Exhibition of a selection of the Dulwich pictures
Kate Winter (soprano)
Bradbridge White (tenor)
Trevor Anthony (bass)
Josephine Lee (continuo)
Edwin Fischer (piano)
Leslie Woodgate )
BBC Symphony Orchestra (Led by Thomas Peatfield )
Conducted by Boris Ord
Comment and Action
A series of programmes designed to introduce great English and foreign plays that are seldom performed in this country
5—Calderon's ' LIFE'S A DREAM '
Selections from the play translated by J. B. Trend and Frank Birch , with a commentary written and spoken by Frank Birch. Produced by Mary Hope Allen. With Robert Speaight as Sigismund, Angela Baddeley as Rosaura, and Mark Dignam as King Basilio
Talk by Lord Brand
Lord Brand, who has been Treasury representative in Washington since 1944, and who was formerly one of Lord Milner's team of administrators in South Africa, took part in many international monetary conferences after 1918. This evening he considers the effect of the war on Britain's capacity to buy her essential imports -foodstuffs. raw materials, and manufactured articles-and he examines the possible ways in which the existing difficult situation can be improved
First of a series of programmes devised by Arnold Goldsbrough
Jean Pougnet (violin)
David Martin (violin)
James Whitehead (cello)
Bernard Richards (cello)
The music of the seventeenth and eighteenth centuries receives less attention in present-day programmes than the music of the sixteenth century, in which for some years past there has grown up a deep and sympathetic interest. Bach and Handel, indeed, are known and loved, but to suppose that their music leads naturally and inevitably to that of Haydn and Mozart is to confess ignorance of the historical and aesthetic facts. The eighteenth century witnessed revolutionary changes in musical style and manner, the causes of which may be quite clearly stated. They are, briefly, the deterioration of opera; the growing distaste for the ' learned polyphonic ' style of Bach, and a new conception of the functions of melody and harmony; the increasing interest in instrumental combinations and the birth of the modern orchestra: and finally the new forms dictated by all these factors.
The present series of programmes will attempt to illustrate this interesting and vital period with the lesser-known works of its composers, and particularly with the undeservedly neglected English school of the time. Such works as the magnificent set of Trio-Sonatas of Arne, for instance, although virtually unknown today, serves to remind us that what Gluck called the ' noble simplicity ' of the period holds much for our delight.
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