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The Hirsch String Quartet:
Leonard Hirsch (violin) Patrick Hailing (violin) Stephen Shingles (viola) Francisco Gabarro (cello)


Violin: Leonard Hirsch
Violin: Patrick Hailing
Viola: Stephen Shingles
Cello: Francisco Gabarro


' The Son of the King of the Speckled Mountain '
When he came to the third hill he saw below him the speckling of the glens and the darkening of the hiHs with the multitude of warriors who were making towards him ... '
A hero story originally told in Gaelic by the late Michael Walsh , farmer, of Co. Galway; now told in English by Duncan Mclntyre
Translation and introduction by Professor J. H. Delargy of the Irish Folklore Commision
Produced by David Thomson
Fifth of a series of six programmes


Unknown: Michael Walsh
English By: Duncan McLntyre
Unknown: Professor J. H. Delargy
Produced By: David Thomson


Acts 1 and 2 of Castor et Pollux
(soprano)(soprano )(soprano)(tenor)(tenor)(bass)
BBC Chorus
(Chorus-Master, Leslie Woodgate )
A section of the London Philharmonic Orchestra (Led by Howard Leyton-Brown )
Thurston Dart (harpsichord)
Conducted by Roger Desormiere
Castor et Pollux had the greatest success during the eighteenth century of all Rameau's stage works, which number nearly thirty. This opera, in spite of a happy ending, is tragic in character, rather in the manner of Corneille. Love, jealousy, and intrigue all play a part in a rather involved plot, but the central theme of the drama is the nobility of renunciation and self-sacrifice, shown especially in the characters of Pollux and the princess Télaïre. The opera exists in two versions, the first of which was produced in 1737. It was revived in 1754, drastically revised, and in almost every way improved; the prologue of the original version was omitted and replaced by an entirely new first act. It is this second version which is being broadcast. As in all Rameau's tragic operas, the musical interest is centred in the instrumental sections (mainly dances); in the choruses; and in the recitatives which in this work are very expressive, an unusual blend of declamation and lyrical feeling. There are no true arias of the Handelian, Italian type.
Les Indes Galantes, originally described as a ballet, and Acante et Céphise, a pastoral opera , are spectacular rather than truly dramatic in character, rather in the style of Purcell's Fairy Queen. The music consists mainly of songs and dances; it has exceptional grace and charm, and constrasts strongly with the passionate and yet at times austere style of Castor et Pollux. Robert Collet


Chorus-Master: Leslie Woodgate
Unknown: Howard Leyton-Brown
Harpsichord: Thurston Dart
Conducted By: Roger Desormiere
Unknown: Robert Collet


The Occupation and the Treaty
Talk by Sir George Sansom


Talk By: Sir George Sansom


(Concert continued)
Excerpts from the Prologue to
Les Indes Galantes
Suite: Acante et Cephise
(arr. Désormière)
A section of the London Philharmonic Orchestra (Led by Howard Leyton-Brown )
Thurston Dart (harpsichord)
Conducted by Roger Desormiere
Programme devised by Robert Collet
Another performance: October 29


Unknown: Howard Leyton-Brown
Harpsichord: Thurston Dart
Conducted By: Roger Desormiere
Unknown: Robert Collet


A new translation for broadcasting by C. Day Lewis
Book 6


Broadcasting By: C. Day Lewis


Frederick Grinke (violin)
David Martin (violin)
James Whitehead
(viola da gamba)
Susi Jeans (harpsichord)
Suite in F (1691), for two violins and continuo
Partita on ' Was Gott tut das ist wohl getan,' for pedal harpsichord
Suite .in C minor (1691). for two violins and continuo
From Cleveland Lodge. Dorking


Violin: Frederick Grinke
Violin: David Martin
Viola: James Whitehead


The Post-War Generation in France by Philippe Soupault


Unknown: Philippe Soupault


Fifteen Variations with a Fugue on a Theme from Prometheus played by Lili Kraus (piano) on gramophone records


Piano: Lili Kraus

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