ENGLISH STRING QUARTET Nona Liddell (violin)
Eleanor St George (violin) Marjorie Lempfert (cello) Helen Just (cello) First of a series Including music by Webern. other twentieth-century composers, and the first Viennese school
Since the war few modem composers have been more revered, discussed, and analysed than Webern, but there are several who have been performed more. He risks being valued intellectually, because of his successors, rather than musically, for his own sake; this would be ironic, since his appreciation of his own predecessors (immediate and distant) rested on solidly musical understanding. A not unimportant section of the younger generation now looks upon Webern as a father-figure, but few people know his music well enough to justify such an attitude.
In the next three months the Third Programme is to include all his instrumental chamber works, some songs, and most of the later orchestral and choral pieces. The chamber music series also includes works by his predecessors-of the twentieth century and of the first Viennese school. Their methods were for Webern, as for Schoenberg and Berg, still part of the stuff of music, though with Webern the development of classical methods of expression neared the critical point where a process turns into its opposite. Leo Black
A radio play by Wolfgang Hildesheimer translated and produced by CHRISTOPHER HOLME.
The underground ' palace ' discovered by a modern couple resembles the ' valley of the shadow of death ' in its power to overcome, temporarily, the isolation and bitterness of an unhappy marriage. Second broadcast
JENNIFER VYVYAN (soprano) HELEN WATTS (contralto) WILLIAM McALPINE (tenor) DAVID WARD (bass)
THE BACH CHOIR
LONDON SYMPHONY ORCHESTRA Leader, Erich Gruenberg
Conducted by Pierre Monteux
From the Royal Festival Hall, London
Symphony No. 8. in F major
See page 7
† by Eric RHODE
Starting from the dictum that a great artist is ' like to a man sitting in a cloaca to the eyes, and whose brows touch the heavens,' Eric Rhode criticises contemporary artists for their failure to reconcile the tension between spirit and matter.
Symphony No. 9, in D minor
† An illustrated talk by ANTHONY LEWIS , Professor of Music in the University of Birmingham, tn which he examines Schutz's contribution to colour and intensity in seventeenth-century music ana discusses the-achievement of this neglected master
See Wednesday at 9.4S
Das wohltemperlerte Clavier Six Preludes and Fugues
No. 1, in C major No. 10, in E minor No. 23, in B major
No. 18, in G sharp minor No. 9, in E major
No. 4, in C sharp minor played by JAMES FRISKIN (piano) † First of four programmes in which James Friskin will play all Book 1 of the 48.'