Rene Soames (tenor)
Clifton Helliwell (accompanist)
The New London Quartet:
Erich Gruenberg (violin)
Lionel Bentley (violin) Keith Cummings (viola) Douglas Cameron (cello)
Franz Reizenstein (piano)
Although Franz Reizenstein is a pianist and doubtless wrote the piano part of his Quintet with himself in mind as performer, he would appear to have avoided the chief danger inherent in such works: thart of giving the pianist the lion's share' while reducing the strings to the level of a mere accompaniment. The p!ano part, though by no means wanting .in brilliance and elaboration, does not swamp the strings, and the interest is equally divided among all the instruments. The work, while showing a strong feeling for harmonic effect, is largely polyphonic in style, and vigorous, athletic rhythms abound. In the slow movement there are many passages of eloquence and drama; the Scherzo, in contrast, suggests a gay hunting party. The finale has a slow introduction :n which the themes of the main part of the movement are adumbrated; they are subsequently developed with ingenuity and resource. Harold Rutland
Read by Siobhan McKenna
Arranged and introduced by Peter Duval Smith
The idea of Crazy Jane was suggested to Yeats by a peasant woman in the West of Ireland who was an acquaintance of Lady Gregory's. She is the c.ntra] character in nine of the lyrics in the sequence Words for Music Perhaps, which was published by the Cuala Press in 1933. A similar impulse inspired certain other poems in this volume, as well as several of the poems in ' A Woman Young and Old ' (published as part of The Winding Stair in 1933) and in Last Poems (1939).
Benno Kusche (baritone)
Frederick Stone (accompanist)
Am Strome: Df'r Alpenjäger: Schlaflied; Der Schiffer; Nachtsttück; An die Leyer; Im Haine: Am See
The seventh of a series of twelve Schubert Ueder recitals, devised by Richard CapeU.
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