In this series of four talks Professor J. E. Meade , of the London School of Economics, considers some of the economic implications of a possible international Union
Conductor, Boris Ord
London Consort of Viols:
Harry Danks (treble viol)
Stanley Wootton (treble viol)
Jacqueline Townshend (tenor viol)
Sylvia Putterill (tenor viol)
Henry Revell (bass viol)
Henry Green talks about the novelist's use of narrative to communicate with his readers
played by William Glock and Peter Stadlen
First of six programmes, devised by William Glock , devoted to the four-hand piano works of Mozart and Schubert.
by Ernst Schnabel
Produced by Rayner Heippenstall
This programme, originally broadcast from Hamburg, gives a cross-section of German life during the twenty-four hours of February 1, 1950. Translated from the German by David Porter, it is a successor to Schnabel's programme The Twenty-ninth of January.
Cinq poèmes de Charles Baudelaire
Le balcon; Harmonie du soir; Le jet d'eau; Recueillement; La mort des amants sung by Janine Micheau (soprano) with Ernest Lush (piano)
Talk by Professor Gilbert Murray , o.M.
Professor Murray contributes this talk to the series on Liberty. He speaks of the poet who witnessed the decline of Athens from the love of sophia to the lust for power.
Theodore Robinson on the Hebrew Prophets: tomorrow at 7.25
played by Max Rostal
Readings from his poetry chosen and introduced by Herbert Read to illustrate the poet's philosophy
Reader, Martin Starkie
(The recorded broadcast of Sept. 10)
Humphry House on Tennyson: Oct. 15
Concerto for piano and violin with thirteen wind instruments
Thema scherzoso con variazoni Adagio
Rondo rhythmico con introduzione
Frederick Grinke (violin)
Arthur Ackroyd (.piccolo and flute)
Gareth Morris (flute)
Terence MacDonagh (oboe) Leonard Brain (cor anglais) Frederick Thurston (clarinet) Herbert New (E flat clarinet)
Wilfred Hambleton (bass clarinet)
John Alexandra (bassoon)
Peter Parry (double-bassoon)
Ian Beers (horn)
Aubrey Brain (horn)
Harold Jackson (trumpet)
John Howells (bass trombone) Ddrected by Norman Del Mar
Few musical compositions can exhibit more ingenuity in their construction than Berg's Chamber Concerto, written in 1924 for Schonberg's fiftieth birthday. The work begins with a motto which introduces the musical notes in the names of Schonberg (on the piano), Webern (on the violin), and Berg (on the horn). The motto does not appear as a theme in the body of the work, hut as the basis of the rhythms. The first movement, for piano and wind ensemble, consists of variations, though it is also in sonata form, the theme serving as the exposition. The Adagio, for violin and wind ensemble, is in two parts, in the second of which much of the opening material is inverted and played backwards. In the finale-for piano, violin, and wind ensemble — both the first and second movements are heard again, played simultaneously. The introduction to the movement takes the form of a cadenza, based on material heard earlier in the work.