Waltz, "Faded Love Letters of Mine"; Fox-trot, "Every Day"; One-step, "Joe is Here"; Fox-trot, "That Red Head Gal"; Veleta, "Honeymoon Chimes"; Fox-trot, "Gone, but Still in My Heart"; Fox-trot, "Just Holding Hands"; Blues, "The Cat's Whiskers"; Fox-trot, "Why Did Robinson Crusoe Get the Blues?"; One-step, "Felix Kept on Walking".
Act III.-A Frontier Alpine Village.
(A few weeks elapse between Acts II. and III.)
Musical Numbers in the Opera.
1. Opening Chorus, "Hither Again on oar Market Day."
2. Entrance of Clarice, "Many Happy Returns of the Day."'
3. Song, "Was it the Sigh of a Passing Soul?"
4. Duet.... "Like the Summer Lightning."
5. Song ........................... "Travelling."
6. Diligence Chorus, "Once Again the Merry Jingle."
7. Duet "If You'll Tarry in This Valley."
8. Song ............................. "Doubting."
9. Quartette, "It Is Really Most Disarming."
10. Song and Chorus, "The Legend of the Edelweiss."
11. Finale, Act I., "Fair Maiden at Your Word I'll Take You."
12. Opening Chorus
13. Duet ......... "For Fury and Strife."
14. Duet, "Just Let Me Hold Your Little Hand."
15. Song ... "Although My Hair is Grey."
16. Entrance of Sergeant and Song.
17. Song... "The Sort of a Husband for Me."
19. Chorus ..................... "Good Night."
20. Song .................................. "Sleep."
20a Dream Pantomime Music.
21. Finale, Act II.
22. Opening Chorus.
23. Waltz Song-Clarice and Chorus.
24. Song ...... "The Ship and the Wind."
25. Duet ......... "This Morning I Woke."
26. Soldiers' Chorus.
27. Entrance of Wedding Procession, "Hail! The Bride."
28. Ensemble.... "Now I Must Leave Thee."
29. Finale, Act III. "Rum a-tum-tum-tum."-
S.B.to " 5XX."
Dialogue written by GEORGE STONE.
Arranged and Produced by WILLIAM R. KEENE and GEORGE STONE.
This evening we shall endeavour to bring to life various well-known paintings, and to add to the interest, it would be well for Listeners previously to make themselves acquainted with the paintings, and on the evening to lower their lights.
"CLAUDE DUVAL ," By W. P. Frith , R . A.
This painting is of a hold-up by the famous highwayman, and his invitation to the young .and beautiful girl to descend from the coach and dance with him to the tune played by one of his masked gang on a flute. This "Picture" begins earlier, and gives the departure from the Inn.
A HOPELESS DAWN,"
By Frank Bramley , R. A.
This painting depicts the close of two fisher folks' lonely all-night vigil for a dearly-loved one who will never return. We begin our " Picture " at the closing stage. and the driving rain and wind and muffled tumult of the sea form the background to this sad little tragedy.
"ON A FARM IN KENT,"
By 7'. Sidney Cooper , R.A.
This painting depicts a typical farm-yard scene. Our "Picture " enlarges somewhat, on the painting, but the main impressions are peace and happiness.
"ANNO DOMINI-THE FLIGHT INTO
By Edwin Long , R.A.
This painting depicts the Holy Mother seated on a donkey with the infant Jesus in her arms and Joseph walking by their side. They are passing a great procession which is taking place in honour of the Egyptian Goddess Isis, and her son Horus, whose images are being borne aloft through crowds of worshippers. In the foreground arc the sellers of idols, charms and necklets-the whole forming a strikingly dramatic contrast. We begin our "Picture" before the arrival of the Holy Family, and with the procession, in the distance.
The Orchestra will provide
Fox-trot, "Follow Yvette" ; Waltz, " Dream
Voyage " (8) ; One-step, " Keep On. Never Minding"; Fox-trot, "Horse Shoe Blues"; Waltz, " Just to Hold You in My Arms " ; Fox-trot, " I Lovo Me " (9); Waltz, " Isle of Sweethearts."
S.B. to all
G. A. ATKINSON , " Seen on the Screen."
S.B. to all Stations. Local News.
Military Band Night.
FLORENCE HOLDING (Soprano). ADELINA LEON (Solo Violoncello).
LESLIE ELLIOTT (Songs at the Piano).
GEORGE and KENNETH WESTERN
THE BAND OF H.M. GRENADIER
(By permission of Col. B. N. Sergison
Brooke, C.M.G., D.S.O.). ,
Director of Music, Lieut. G. MILLER.
Mrs. M. G. Cameron , on "The King of the Christmas Feast." David's Dance Orchestra. Florence Holding (Soprano).
"God Bless the Prince of Wales."
THE STATION DRAMATIC
COMPANY in "THE "MINE (J. L. R. Hale).
(Specially written for the occasion.)
Mrs. Evans. Harri Evans. Capt. Trevor.
Scene: The living room of Harri's little cottage in a village on the North coast of Wales. As the play opens, Gladys and Blodwen are holding a conversation whilst Gladys prepares a meal.
Presented by VICTOR SMYTHE.
Supervised by J. L. R. HALE.
Written and Produced by Donald Davies.
The Redskins hold many prisoners, palefaces, blackfaces, and faces of unknown colour. They powwow in their camps of the Five Tribes of Wah on the banks of the Taffywatah. The Big Chief Yum-yum-tummy-yum orders his captives to be brought before him, and to the delight of the little chiefs, the braves, the squaws, and the papooses the prisoners are forced to earn their ransom in Song and Story.
Careful attention must be paid to the original Red Indian expressions, which well repay close study.
IN the familiar air. from the Second Act of Samson and Delilah. Delilah seeks to strengthen her hold on Samson by assuring him of her love. ' Softly awakes my heart at thy voice,' she sings-and Samson is lost.
The second Air comes from Act IV. of Faust. Marguerite, deserted by Faust, is comforted by the youth Siebet, who has promised her absent brother that he will guard her. The lad assures her that. however dark the outlook, ho will be by her side.
A Special Concert rendered by The MANCHESTER BEECHAM OPERATIC Ciionus, relayed from Milton Hall : Conductor, W. ARTHUR LOMAS HANNAH CHOPPER (Soprano)
GWENDOLINE CLARKE (Soprano) JOHN HUGHES (Baritone) M. AINSWORTH (Soprano)
CORA MAUDE (Mezzo-Soprano) ELSIE BOARDMAN (Contralto) EDITH SCHOLES (Contralto)
Accompanist: HILDA WILMOT
Marguerite-M. AINSWORTH Siebel-CORA MAUDE
MEPHISTOPHELES, having destroyed the erring Marguerite's hopes of pardon, has been satirically serenading her while Faust stands bv. Valentine, her brother, draw; his sword upon Faust, and they fight.- Mephistopheles, by a foul blow, causes Valentine to fall mortally wounded. As he dies, ho curses the sister once so dear to him.
Opening Chorus from ' Phoebus and Pan ' Bach (Knglish Translation by Arthur Lomas)
THIS jolly Cantata was put on the stage some years ago by Sir Thomas Beecham, and since then has become a popular item in the repertory of the British National Opera Company.
The incident round which it is constructed is a simple one. Phoebus, the Sun-god, disputes with Pan, God of the Woodlands, as to which of them is the better singer. They hold a contest, in which other gods act as counsel and judges, and Phoebus, with his divine song, is proclaimed victor.
The Opening Chorus, by Phoebus, Pan, and the assembled gods, with shepherds, nymphs, and a crowd of onlookers, is simply a means of starting the ball a-rolling.
THE Sacred Festival Drama, Parsifal, was
Wagner's last work. In it he treats of the legendary relic of the Eucharist, the Holy Grail (the cup which was used at the Last Supper, and in which the Saviour's blood was received at the Crucifixion),
In the Grail Scene, the Love Feast, or Communion of the Knights who guard the Holy Grail, is celebrated, and the Grail is unveiled.
THE HEBDEN BRIDGE BAND: Conductor, SAM TOWNSEND
SHEEP-FARMING in the Australian bush. playing the Violin to the Governor-General, cruising on a whaler, mutiny, capture by ferocious rebel Maoris-all these are among the lively experiences of the Irish composer of Maritana. He is not to be confused, by the way, with the William Wallace of our own times, composer of the Freebooter Songs, etc. This William Wallace was born in 1814 and died just over sixty years ago. He wrote, among other things, half-a-dozen Op?ras ; but Maritana was the only really successful one, and it has, indeed, easily made up for the rest as far as popularity goes.
His countrymen put up a monument to him at his native Waterford a few years ago-one of the few statues of musicians to be found in the British Isles.
A Symbolic Play by Maria A. Foley , presented by the Station Dramatic Company
THE action takes place in the modest room of a little house near Judæa during the lifetime of our Lord. From the window, a narrow winding road may be seen, and in the distance, rising majestically, a mountain, at the foot of which a great crowd is gathering.
This is the picture that presents itself to little Joel as he gazes wistfully towards the mountain. He has just finished preparing a wreath of white roses, which he holds in his hands.
The Birmingham Pianoforte Quartet: Thomas Jones (Violin); Arthur Kennedy (Viola); Leonard Dennis (Violoncello); Michael Mullinar (Pianoforte) -
Mozart's First Quartet for Piano, Violin, Viola and 'Cello is in the key of G Minor.
It consists of three separate Movements, as follows:-
I. Quick. This is a closely-woven, yet light, airy piece.
The First Main Tune is heard at once. A very large part of the Movement is made out of the rather downright opening phrase for all the instruments. Here it is balanced by a florid little phrase on the Piano; then both phrases are repeated. Great play is made with this opening phrase, especially with its first two long notes.
Several little tunes crop up, and Mozart early begins to make use of his opening idea. The Piano starts the Second Main Tune - a graceful, quiet one in thirds. A sort of answer to it is played by the Strings, as their contribution to the second idea. The Piano repeats this String bit, the Violin imitating. Space prohibits a detailed description of the rest of this Movement, most of which explains itself.
II. At a steady pace. This Movement consists partly of expressive, rather serious melodies, and partly of rapid, decorative scale-passages.
The Piano, at the opening, has the First Main Tune.
The Second Tune is soon heard, after a short Piano shake. The Violin begins it, the other Strings harmonising, and the Piano adds an answering strain.
III. Quick. The Finale is a gay Rondo, in which the chief Tune comes round several times. The Main Tune of this Rondo is a long one, but quite clear. First of all the Piano alone plays a sentence. This is repeated by Piano and Strings. Next comes another sentence for Piano alone, and this is repeated by Strings alone. The Piano comes in again at the end, and all the instruments round the whole Tune off. Several other equally care-free melodies are utilised. Our enjoyment of the Movement largely lies in the fact that while all are different and distinctive, they are unified and well blended. In other words, we have here one of the fundamentals of all good art - Variety in Unity.
Dale Smith (Baritone) - Songs from "The Fair Maid of the Mill" (Schubert): "A-Roaming"; "Whither"; "The Question"; "Serenade"; "Impatience"
Schubert's wonderful gift of melody found its most natural expression in his songs, of which he wrote over six hundred. He seemed to lay hold, with clear purpose, of the various types of emotion and thought in the poems he set, and to choose for each the perfectly appropriate musical expression.
"The Fair Maid of the Mill" is a set of twenty-five poems by Wm. Muller, of which Schubert set a score.
In "A-Roaming" we have the care-free song of the miller's man, who wants to go off and see the world. The mill-wheels don't stand still, says he, and the water always wanders on and on. So will he; heigh-ho for the road!
"Whither?" is the question he puts to the brooklet beside which he takes his way. "You will find your mill to turn, some day, and I'll find my work waiting for me too - somewhere, some day." "The Question", of course, is one of the oldest questions - that of the youth who seeks to know if a maiden loves him. The stars and flowers can't tell him. Maybe the brook can. No? "O tell me, she does love me?" But the brook is tantalizingly silent, for once.
In the "Serenade" the youth, beneath the beloved's window, sings a morning greeting, rhapsodizing about her after the fashion of lovers the world over.
"Impatience". All Nature must bear the message to the beloved - "Thine is my heart, and shall be thine for ever." But impatient love need wait for no messages: her eyes will know the unspoken thought, her heart will feel a heart's devotion.
First Pianoforte Quartet in G Minor Allegro; Andante ; Rondo - Mozart
QUARTET First Two Movements from Pianoforte Quartet in C Minor, No. 1 Allegro Molto Moderato ; Scherzo - Faure
DALE SMITH Autumn - Muriel Herbert
The City Child (First Performance) - Becket Williams
Minnie and Winnie (First Performance) - Becket Williams
My Little Pretty One - Ian Montrose
A Lawsuit - D. M. Stewart
Yarmouth Fair - arr. Peter Warlock
QUARTET Last Two Movements from Pianoforte Quartet in C Minor, No. 1 - Faure
' Trafalgar '
ADMIRAL MARK KERR entered the Navy very nearly fifty years ago, and retired in 1918, after an exceptionally distinguished career, in the course of which he was Commander-in-Chief of the Greek Navy from 1913 to 1915. He commanded the Adriatic Squadron in 1916-17, when he was wounded and gassed. He holds an air pilot's certificate, and after retiring from the Navy lie became Deputy-Chief of the Air Staff and Major-General in the Royal
Air Force. In addition to all these activities he has found time to write on various subjects, including ' The Spirit of Nelson' and ' How Far Nelson 's Memorandum was Carried Out at Trafalgar'
THESE pieces, which are dedicated to
Granville Bantock, celebrate the heroic deeds of a soldier, an explorer, and an airman.
I. O'LEARY, V.C. An extract from the London Gazette in February, 1915, runs thus : ' Forming one of the storming party which advanced against the enemy barricades, he rushed to the front and himself killed five Germans, who were holding the first barricade; after which, he attacked the second barricade, which he captured, after killing three of the enemy and making prisoners of two more. Lance-Corporal O'Leary thus practically captured the enemy's position by himself, and prevented the rest of the attacking party from being fired upon.'
II. CAPTAIN OATES. He was a member of Captain Scott's South Polar Expedition of 1912, which suffered great privations. At a time when the explorers were in sore difficulties, and when shortage of food made it extremely doubtful whether they could survive, Captain Scott thus writes in his journal of Captain Oates : ' He slept through the night before last hoping not to wake, but he woke in the morning. It was blowing a blizzard. He said. " I am just going outside, and may be some time." He went out into the blizzard, and we have not seen him since. We knew poor Oates was walking to his death ; but, though wo tried to dissuade him, we knew it was the act of a brave man and an English gentleman.'
III. WARNEFORD, V.C. An Admiralty communique of June 10, 1915, describes the triumphant deed of Lieutenant Warneford: He attacked, and, single-handed, completely destroyed, a Zeppelin in mid-air. This brilliant achievement was accomplished after chasing the Zeppelin from the coast of Flanders to Ghent, where he succeeded in dropping his bombs on it from a height of only one or two hundred feet. One of these bombs caused a terrific explosion which set the Zeppelin on fire from end to end, but, at the same time, overturned his aeroplane, and stopped the engine. In spite of this, he succeeded in landing safely in hostile country, and after fifteen minutes started his engine, and returned to his base without damage.'
1. JOHNSON at the CHESHIRE CHEESE
2. FALSTAFF at the BOAR'S HEAD TAVERN
3. PICKWICK at the GOLDEN CROSS
Arranged and Announced by CECIL LEWIS
MANY of the famous old inns of London have associations with notable characters in fiction or in fact. Tize 'Old Cheshire Cheese,' behind Fleet Street, remains to this day as it was when Dr. Johnson, the Great Cham of letters in his time, used to hold his court there, talking to Goldsmith and Garrick and Sir Joshua Reynolds and the rest of that circle of wits, whilst the assiduous Boswell memorized their conversation as the material for his monumental ' Life.' The ' Boar's Head Tavern' in East-cheap was the haunt of Falstaff and his crowd of amusing scoundrels in Shakespeare's Henry I V., and it was there that the fat knight died babbling o green fields; and it was from the old ' Golden Cross ' at Charing Cross, a great coaching house, that Mr. Pickwick and his friends set out on their famous tour, and first met that Mr. Jingle who was to cross their path so often before they met him for the last time in the Fleet Prison. In this programme Mr. Lewis will reconstruct incidents in the legendary history of these three taverns, in which these three famous Londoners took part.
Sung by VlVIENNE CHATTERTON
Ich schwebe (I Tremble), Op. 48
Freundliche Vision (Kindly Vision), Op. 48 Sie wissen nicht (They Know Not), Op. 49
Monolog der Marschallin (Princess Von Werden berg's Monologue), Op. 59
Schlechtes Wetter (Stormy Weather), Op. 69 Einerlei (Unchanging), Op. '69 '
ICH SCHWEBE is very Straussian in one respect, for the top part of the accompaniment moves in ' sixths ' (chords of two notes, six scale-degrees apart) nearly all the way through. ' Thirds ' and ' sixths ' arc a mannerism in Strauss; but he does not as a rule adopt it so pointedly as in this song. Hero the high swinging sixths are probably suggested by the words : ' Like an angel I seem to swing, my foot scarcely touching earth ; for in my ears is the ring of my love's good-bye.'
Freundliche Vision is a day-dream of what might. be, and, if the lovers' hopes come true, will be. It is a vision of their country cottage. The music is free in its harmonic effects but simple in its general design, and it aptly reflects the happy dream of the poet.
Sie wissen nicht-' They know not how wonderful they are; neither the nightingale nor my snow-white maiden.' The nightingale is much in evidence in the Piano accompaniment. A sudden change of key introduces an upward-sweeping tune, in Straussian thirds, that seems to belong to the snow-white maiden.
The Monologue from' the Opera ' Der Rosenkavalier ' ( The Rose-Cavalier ') contains the moral of this enchanting Comedy-Grand-Opera from Vienna. Middle-ago must yield to youth. The wealthy, still beautiful but slightly passée. Princess knows (at the end of Act I.) that she cannot hope to hold her young lover if youth should enter into rivalry with her. In this Monologue she bewails her coming loneliness- not without dignity and resignation.
Schlechtes Wetter is also a monologue. The poen is by Heine. A young man looks out through his window into the rain and darkness. A solitary wandering light reveals a little old mother on her way to buy flour and eggs and butter ; no doubt she intends to make a cake for that great daughter of hers. The daughter sits at home in the easy chair blinking at the fire, her golden hair falling about her sweet face.
The music is descriptive and humorous. Note the homely waltz tune that comes in with the ' Mehl und Eier und Butter.'
On the first Sunday in each month until March, when the Centenary of Beethoven's death occurs, a Beethoven Programme will be performed as a tribute to the great Composer. In this series Nigel Dallaway (Pianoforte) and the Station Orchestra, conducted by Joseph Lewis, will give the five Pianoforte Concertos and the Fantasia for Pianoforte, Chorus and Orchestra
This Overture was written not for Shakespeare's tragedy, but for a drama by an Austrian, one von Collin.
Wagner, in an essay on the music, presumes that Beethoven had in mind one particular scene in Shakespeare's play - that in which Coriolanus, having been banished from his native city and having joined its enemies, yielded to the prayers of his wife and mother, and refused to besiege the city. For this he was condemned to death by his allies. Wagner suggests that the hero is pictured in the opening melody, and the prayers of the women in the second, gentle, tune. The conflict between his desires and their pleadings goes on, says the commentator; and certainly, if ever a piece of music suggested mental conflict, this Overture does so. The final bars contain a broken, faltering form of the melody that at the opening was so strong and bold-a dramatic, imaginative stroke the makes us feel the deep tragedy of Coriolanus's end.
MAY MARTIN (Contralto)
God in Nature
THE Heavens declare the Lord's infinite glory .... and the earth and sea sound
His name ... Hear, O man, what they tell ! He created the stars, and calls from His tent the Sun, coming in brightness from afar, and moving upon his course like a hero.'
NIGEL DALLAWAY and Orchestra
First Pianoforte Concerto in C Major, Op. 15
THOUGH this is called the first of Beethoven's
Concertos because it was the earliest to be published, it was really the second in order of composition. If one compares it with the so-called Second Concerto, it will be found to be in many ways an advance upon that. It was written when the composer was about twenty-eight, and is full of life and grace.
As was usual in the Concerto at that time, the Orchestra alone, in the opening bars, first presents the chief themes (though it should not do this so fully that the Piano is left with little that is fresh to say about them when it comes in, there is a weakness of that kind in the First Movement of this Concerto : but. the Piano has some brilliant and forceful matter to deal with, and holds its own gallantly). Near the end there is a pause for the 'Cadenza,' when the Piano goes off on an adventure of its own. Beethoven, apparently dissatisfied with himself, wrote three Cadenzas to this Movement, the last of which is one of the finest examples we have of this kind of Pianoforte oratory. The SLOW MOVEMENT is based on an expressive melody which the Solo instrument richly decorates. The Clarinet has a particularly beautiful and important part to play.
The LAST MOVEMENT is the usual Rondo, the phrases of its First Main Tune delightfully extended beyond the usual four-bar length, in a fashion that reminds us of Haydn, and shows that the Composer is bent on keeping the tune 'in the air' all the time.
The contrasting Second Tune comes in on the First Violins and Oboes, and (after the return of the original melody) a Third appears on the Piano (the left hand leaping spiritedly up and down), accompanied by a brief conversation between Flutes and Bassoons. There are three little Cadenzas in this Movement, before the Orchestra steps in and has the last word.
MAY MARTIN and Orchestra
Aria, 'In questa Tomba Oscura'
THIS air was the last of a series of no fewer than sixty-three settings of a poem (one which had originally been improvised to fit a tune made up at. the Piano, at a musical gathering). Parr, Salieri, Cherubini, and other composers, joined in the game of setting in questa tomba, one man, Zingarelli, actually writing ten settings of it!
The poet imagines a lover who has died of grief at his lady's neglect; she, repentant, weeps over his grave, and his spirit enjoins her to let him rest - she should have thought of him while he was alive. He wants no deceitful tears now ; ho would have peace for his weary spirit.
Finale from 'Prometheus' Ballet Suite
ARTHUR BECKWITH (Solo Violin)
THE WIRELESS SYMPHONY ORCHESTRA, conducted by GEOFFREY TOYE
BACH'S Violin Concertos have only an accompaniment of Strings with, in addition, a part for a Keyboard instrument. which builds up the accompanying harmonies from figures written over a single line of bass notes. In some of these Concertos the keyboard part is not indispensable. and it is often omitted. The usual plan was to give one Main Tune to the Soloist and another to the Orchestra, each dealing in a distinctive way with the material ?ntrusted to it.
Bach, in these Violin works, adopted the Italian model of a three-piece Concerto, including two quick Movements and a central slow one. That style is clearly exemplified in this. his Second Concerto. The contrast in mood between the irresistibly joyous, open-air First and Last Movements, and the serious, reflective Second Movement is very great.
Bach was in the habit of arranging some of his music for different instruments from those for which it was originally written. This is one of the works so re-written. He arranged it for Keyboard. changing its key from E to D. That practice shows how. in Bach's time. there was not yet the fullest distinction between Pianoforte style and Violin style.
MAURICE RAVEL holds a place of honour among modern French composers. His position has so long been established that one almost regards him as a veteran, though he is, in fact, only fifty-one years of age. His music is particularly sensitive and delicate, and he has a quite individual style.
This work is one of his best, though on a small scale. It is scored for a small Orchestra, consisting of the usual Woodwind (there is only one Oboe. however), two Horns, one Harp and Muted Strings.
A Pavane was originally a dance, of a slow, stately character. Its solemn nature makes it specially suitable for a memorial piece.
Ravel's Pavane centres round a slow, sustained melody, the first part of which is given out by Horn. the second part as a duet-Oboe and Bassoon. It is beautifully scored throughout.
MOZART'S last three Symphonies (and, by common consent, his greatest three) were written within the short space of less than two months, at a time near the end of his life when he was in poverty; and suffering from what he described to a friend as 'gloomy thoughts ' which, he said. he ' must repel with all his might.' The Jupiter, which we are now to hear, is one of these last Symphonies. Why Jupiter ? Mozart never called it that. But somebody, apparently, thought it expressed lofty, godiike qualities, and so gave it this name, which is surely not inapt.
There are four Movements :-
1. Quick and spirited. 2. Slow. soft, and song-like. 3. A gay little Minuet. 4. A Finale, rising to a dazzling climax.
THE LILY OF KILLARNEY'
An Opera in Three Acts by Sir Julius Benedict
(Words by Dion Boucicault and John Oxenford )
Relayed to Daventry
THE STATION CHORUS-Chorus Master,
S. H. WHITTAKER
THE AUGMENTED STATION ORCHESTRA, conducted by T. H. MORRISON
Notes by JOHN RUSSELL
SIR JULIUS BENEDICT was a German who followed in the steps of Handel by spending a great deal of his life in England. He is remembered chiefly by The Lily of Killarney.
The Opera is founded on Dion Boucicault 's play, The Colleen Bawn. Hardress Cregan (owner of a large estate, heavily involved) and Eily O'Con-nor (a peasant girl) are secretly married. To relieve his fortunes Cregan is persuaded by Corrigan (who holds the mortgages) to pay court to a rich heiress. The plot is concerned largely with the efforts of Cregan and Danny Mann (a boatman, Cregan's devoted follower) to induce Eily to give up her marriage lines. Cregan's gloves, obtained from his mother (who favours the rich marriage) are sent to Eily as a sign that Cregan needs her, and by this means she is inveigled into a boat. An attempt is made by Danny Mann to do away with her. But Myles Na Coppaleen shoots Danny, Eily is rescued, the rich heiress accepts another suitor who pays off the mortgage, and all ends happily.
[An illustrated Libretto of the above opera can be obtained from the Manchester Station, price 2d., including postage. Listeners in the North of England can obtain copies through the Wireless Dealers.]
Happiness came to Beethoven when, in 1806, he became engaged to the Countess
Therese of Brunswick. The engagement, alas, camo to nothing in the end, but for the time being the Composer was in bliss; and this Symphony, written soon after that happy period began, was surely affected by his joyful feelings, for it is one of the most exhilarating of all the nine Symphonies. It is in four Movements.
First Movement. A slow Introduction precedes the lively Movement, whose First Main Tune is heard on Strings and answered by Woodwind. Quickly there comes a lull, but equally quickly the whole Orchestra takes up the First Tune once again, this time ending with violent, insistent chords, 'off the beat'. Strings are then suddenly left to themselves, and die down to a soft chord. This they hold while the Second Main Tune is heard, a rustic little phrase in Bassoon, then Oboe, then high up in the Flute, which prolongs the Tune. This leads into other Tunes-first a boisterous one, then a quiet conversational one in Woodwind. There is still more material, but this is the most important, and rules a delightful piece in which some attractive novelty is for ever cropping up.
Second Movement. This is in strict 'Sonata' form. It opens with a sustained, song-like First Main Tune in Strings. This is repeated by Woodwind, with decoration in Violins and pizzicato (plucked) accompaniment in the lower Strings. Afterwards something of a climax is developed by Full Orchestra. When this dies down, the Clarinet gives out the Second Main Tune, another song-like melody. There is a soft string accompaniment. After this there is a very brief development section, followed by a regular recapitulation of the two Main Tunes.
Third Movement. A gay Minuet (with the usual 'Trio' as contrast in the middle) needs no special description. For once, however, Beethoven, after repeating his Minuet, gives both Minuet and Trio again, making a five-section piece.
Fourth Movement. A glorious bit of the cheeriest Beethoven, this, woven out of the usual two Main Tunes (First going off at once, and Second entering, after a Full Orchestral climax and a dying down of the excitement, quietly and expressively).