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Regional Programme London

An Orchestral Concert

LILIAN KEYES (Soprano)
GEORGE BAKER (Baritone)
THE B.B.C. THEATRE ORCHESTRA
Conductor, LESLIE WOODGATE
THIS Suito, based on French folk-songs, was
J- the first work to bring its composer into the limelight: it appeared first as a set of pianoforte ducts, borrowing our English word for its title—La Nursery. It has been followed by more important music, like the Ballet
El Greco , written for the Swedish Ballot which he conducted in Paris and in London, the big work for chorus and orchestra, La Cantique des Creatures de Saint Francois, and many pieces of pianoforte music and songs, as well as a sonata for flute and harp. Inghelbrecht is a distinguished conductor, too, and was among the earliest interpreters of Debussy's orchestral music, revealing its beauties with a sympathetic understanding which sprang from a warm personal attachment to the composer. Born in Paris in 1880, he holds an important place among the French musicians of today.
HERMAN LOHR is one of mnny good Britons whose names may mislead unthinking listeners into imagining that they aro enjoying foreign fare instead of home-made goods. Born in Plymouth in 1872, he has for many years held a foremost place among English song composors. In an age of swiftly changing stylos and fashions, his honest, straightforward melodies, wedded to texts of simple sentiment and good humour, have a sure place in the affections of singers and listeners alike, from which they will not soon nor easily be ousted.
Regional Programme Midland

Midland Towns and Cities

III, Nottingham
This programme will include ewell-known
Nottingham artists, being preceded by a short resumé of the features of the City by JOHN HINGELEY
A LTHOUGH it does not possess an orchestra of its own, Nottingham can be counted as one of the really musical towns in the Midlands. Some of the finest artists heard on the Midland Regional Transmitter are natives of the place, and it possesses some good choral societies. The organ recitals by H. 0. Hodgson arc a regular feature of the wireless programmes. One of the most interesting annual events in . the town is ' Goose Fair,' which, unfortunately, it was found impossible to broadcast this year. Situated on the Trent and guarded by the picturesque castle, Nottingham is one of the cleanest and pleasantest of English cities. What is left of Sherwood Forest, where the famous Robin Hood caused the Sheriff of Nottingham so much trouble, lies to the north. The town, which is noted for its manufacture of lace, is supposed to have been founded by early cavemen, as it is honeycombed with caves, including a great troglodyte fortress stretching for miles underground and capable of holding 30,000 men. This huge fortress, barred by a great iron door for fear inquisitive people should get them-solves buried alive in its mazes, is approached from the cellar of a greengrocer's shop.
Regional Programme Midland

'Midland Towns and Cities'

VI, ON SEVERN'S BANKS'
THE Valley of the Severn holds a unique position, in that it has been the birthplace of many of the great English musicians of the twentieth century, such as Sir Edward Elgar , Sir Herbert Brewer , Dr. Basil Harwood , Gustav Holst , Vaughan Williams , Julius Harrison , not to mention that great musical historian, Sir Henry Hadow.
The Programme will be preceded by a short resume on the interesting places on the Severn's
Banks by JOHN HINGELEY
Regional Programme Midland

The Sutton Coldfield Musical Committee's Concert

From THE TOWN HALL, SUTTON COLDFIELD
THE CITY OF BIRMINGHAM ORCHESTRA (Leader, PAUL BEARD)
Conducted by HAROLD GRAY
HEDDLE NASH (Tenor)
Harold Gray is one of Birmingham's youngest conductors. He holds a number of musical appointments. Besides being musical director and conductor for the Sutton Coldfield Society, he conducts the Solihull Musical Society and the Birmingham Grand Opera Society. This year he is giving a series of broadcast talks on music in the Children's Hour.
9.0, Interval

ORCHESTRA Overture, The Magic Flute - Mozart
HEDDLE NASH and Orchestra Aria, Il mio tesoro (My Treasure) (Don Giovanni) - Mozart
ORCHESTRA Symphony, No. 41, in C (The Jupiter) K.551 Allegro vivace; Andante cantabile; Menuetto; Molto allegro - Mozart
HEDDLE NASH Who is Sylvia? - Schubert
Hark, hark, the Lark - Schubert
Serenade - Schubert
9.10 ORCHESTRA (Continued)
Ballet Music, Sylvia - Delibes
Traume (Dreams) - Wagner
HEDDLE NASH and Orchestra Walter's Prize Song (The Mastersingers) - Wagner
ORCHESTRA Dance No. 17 (Prince Igor) - Borodin
Regional Programme London

Sunday Orchestral Concerts-IX

POUISHNOFF (Pianorforte)
THE B.B.C. STUDIO
SYMPHONY ORCHESTRA
(Leader, ARTHUR CATTERALL )
Conductor, ADRIAN BOULT
Regional Programme London

The B.B.C. Light Orchestra

Conductor, ARTHUR CATTERALL
ORIGINALLY in one act, afterwards extended to two, Beatrice and Benedict was commissioned for the Baden opera house, and produced there in August, 1862. Berlioz wrote both text and music, adapting parts of Shakespeare's Much Ado About Nothing; writing about it in the previous year, while he was at work on it, ho said: 'I promise there shall not be much ado in the way of noise in it.' He went to Baden to superintend the final rehearsals and direct the first performances, and was delighted by his reception and by the lavish way in which his work was put on ; the fees paid him for it, too, seemed to him generous, though many an artist at the present day earns more for a single appearance. At the first performance, so he has recorded himself, he was suffering from such neuralgia as to have no interest in anything, and yet conducted better than usual. The opera was applauded from end to end, and he was recalled more times than he could count; the performers were as enthusiastic as the audience. In the following April, translated into German (for the cosmopolitan public of Baden it had been sung in the original French), it was given at Weimar, Berlioz himself again conducting the first two performances, and there, too, it scored a triumphant success. But though it was warmly received in other cities, too, it has not contrived to keep its hold on the public affection, despite the tenderness and charm of its melodious score.' ',To my mind, one of the liveliest and most original things I have ever done,' he said himself, and when chances are offered of hearing parts of it, most listeners agree with him.
Regional Programme Midland

An Orchestral Concert

The City of Birmingham Orchestra
(Leader, Paul Beard)
Conducted by Leslie Heward
QINIGAGLIA, although he is already past his sixtieth year, is holding his own in contemporary Italian music alongside of a young and very enthusiastic school of moderns and even ultra-moderns.
A pupil of Dvorak's, he no doubt acquired from the Bohemian master
Bomothing of his enthusiasm for folk music, and has long been active in the collection and use of the folk tunes of his native Piedmont. His Piedmontese dances appear frequently in concert programmes over the world.
ROBERT MAITLAND, who is of Scottish descent, spent much of his time in Germany, and is an expert on German lieder. These songs of Wolf, with their exquisitely sensitive atmosphere, are admirably suited to his style. They were written directly after the composer had completed his only opera Der Dreispitz. The fit of inspiration lasted until he had set three of the Michel Angelo's sonnets. Then his brain suddenly gave way and it was found necessary to confine him to a mental home.
Regional Programme London

The Band of H.M. Grenadier Guards

(By kind permission of Col. Viscount Gort , V.C., C.B.E., D.S.O., M.V.O.,
M.C.)
Director of Music, Capt. G. MILLER
WALTER GLYNNE (Tenor)
THE PRINCESS OF KENSING.
TON, with a libretto by Basil Hood , followed Merrie England, in which he had also collaborated with German in 1903. It is a charming fantasy in which the whimsical humour of * Gilbert is blended with something like the fancy of Sir James Barrie , and romance is woven into the fabric of modern London life with a subtle and delicate charm. German's music fits the story in the same happy way that Sullivan's music seems inseparable from Gilbert's inimitable nonsense, and the Opera promised at first to carry on the long series of Savoy successes, with the brightest of hopes for a still further series. And yet, although it was warmly welcomed later too, when the d'Oyly
Carte people took it on tour, it has not contrived to hold the stage, and except in tho form of such selections as this, is almost never heard.
Regional Programme London

'THE MODERN DILEMMA' XIV

Professor JOHN MACMURRAY
THIS is the second of Professor
John MacMurray 's group of four talks within the twenty-four weeks of this series. It will bo remembered that the form of the series-groups of four talks by single speakers alternating
. with groups of four individual and various contributions-was an essential part of the scheme. The purpose of 'The Modern Dilemma ' is twofold : to provide an opportunity for constructive suggestion by individual speakers who are in touch with the spiritual situation of today, who are facing it honestly, and who have some constructive ideal to suggest, and at the same time to supply listeners with something to hold on to in the meanwhile amid the changes which are creating for them their immediate problems. The three ' blocks ' of talks by single speakers are directed towards the first aim: the isolated talks in between towards the second. Mr. Christopher Dawson contributed the first of the individual groups, in November, and Mr. T. S. Eliot will close the series with four talks next March. Professor MacMurray is an eminent philosopher who is already familiar to histeners to ' The Changing World.'
Regional Programme London

Concerts of Contemporary Music-III

(Sixth Season—1931-1932)
JOSEPH SZIGETI (Violin)
THE B.B.C. ORCHESTRA
(Section D)
(Leader, ARTHUR CATTERALL )
Conductor, ADRIAN BOULT
Ferruccio Busoni -1866-1924
HAD he lived to see the broadcasting of music reach its present universal popularity (he died' in Berlin in the summer of 1924), Busoni would certainly have disapproved of it. It was one of his favourite sayings that ' the first thing to be done in the best interests of music itself, is to limit the opportunities for hearing music.' He would have had listeners carefully trained and educated, probably even examined, before they were allowed to hear music', at any rate, the more serious music. Appearing as a child prodigy at the age of nine, ho was for many years one of the foremost concert pianists of the world, one whoso playing was marked by great strength and bigness. His own musichas certainly enjoyed the seclusion which ho would no doubt have claimed for it; with but few exceptions, it is hardly known to the ordinary concert-goer. It has had, none the less, a big influence on the music of our time, and, strangely enough, in post-war Germany more than anywhere else. Ardent Italian though he was, it was in Berlin that he was held in highest honour ; young musicians there especially looked to him latterly as an enlightened and inspiring leader.
There is a strength and bigness about all he wrote which, to those who knew him, is very like his commanding personality : his music has something of the nobility which was his own hy nature—simple, unassuming, but sincere always, and dignified. But ho was so strongly averse from anything like explanations of music-holding that if it did not explain itself, it had better not be played or sung-that it would be unfair to his memory to offer any attempt at introduction to these three works. The Violin Concerto is the earliest, dating from 1899, when ho was thirty-three; Szigeti's playing of it has had n big share in tho recent revival of interest in Busoni's music all over Europe. The Comedy Overture appeared in 1904, and the Turandot music was originally incidental music to Gozzi's play, composed for a production by Iteinhardt at the Deutsches Theatre in Berlin in 1913. Rusoni afterwards recast it as a little opera with spoken dialogue.
ORCHESTRA
A Comedy- Overture, Op. 38
(1897-1904)
JOSEPH SZIGETI and Orchestra
Concerto in D for Violin and Orchestra, Op. 35a (1899) ORCHESTRA
Turandot — Orchostral Suite from the Music to Gozzi's Drama, Op. 41 (1913)
Die Hinrichtung, das
Stadttor, der Abschied (The Execution, The Town Gate, The Farewell) ; Truffaldino (Introduzione e marcia grottesca) ; Altoum (Marsch); Turandot (Marsch) ; Das Frauen gemach(The Women's Apartment) ; Tanz und Gesang ; NiichtlicherWalzer (Waltz by Night); In modo di Marcia funebre e Finale alla Turca
Regional Programme London

Sullivan's Theatre Music

THE WIRELESS CHORUS
THE B.B.C. ORCHESTRAL
(Section C)
Conducted by STANFORD ROBINSON
ORCHESTRA
Overture, The Mikado
CHORUS and Orchestra
Trio, On the Heights of Glan-
Taun; Conceited Piece, The Goblin and the Fairy (The Emerald Isle)
ORCHESTRA
Selection, The Gondoliers
CHORUS and Orchestra
Finale, Act I ; Quartet, Joy and Sorrow alternate (Tho Rose of Persia)
THE Rose of Persia, to a libretto by Basil Hood, was the last light opera which Sullivan completed, appearing at the Savoy Theatre, London, in 1899. Listeners will remember that its successor was to be The Emerald Isle, of which the text is also by Basil Hood , but that Sullivan left it unfinished at his death, at the end of 1900, and that Edward German completed it.
The Rose of Persia is full of Sullivan's simple charm, and. though it is better known now in the form of selections, than as a stage piece, its music bids fair to keep its hold on popular affection. Listeners who know the work may be interested to re-all the numbers which made the creatost hits. There is a joyously martial introduction, leading to the chorus ' With martial gait,' and among those which are most happily remembered are, ' the small Street Arab,' ' Time will soften every blow.' ' Try to forget,' 'The Cup Song,' ' Hassan, thy pity I entreat ' ; most successful of all was the vigorous Finale to the second act. The story is a blend of drama, whimsical romance, and irresponsible nonsense, and the setting is the East of the Arabian Nights rather
' than Persia as it ever really existed.
ORCHESTRA
Overture, The Pirates of Penzance
Regional Programme London

A Recital

ELEANOR KAUFMAN (Mezzo-Soprano)
RUDOLPH DOLMETSCH (Harpsichord)
DR. JOHN BULL at the age of about twenty became organist of Hereford Cathedral, and three years later a member of the Chapel Royal. Although his position in the world of music was a very eminent one, and he was a Doctor of Music both of Combridge and of Oxford, in 1591 his circumstances were so bad that he had to petition Queen Elizabeth ' to relieve his great poverty, which altogether hinders his studies.' He survived the Queen and continued to hold his foremost position in the next reign, and his fame spread to other parts of Europe, too. He left this country about 1613, and in 1617 became organist of Antwerp Cathedral. He died there, and is buried on the south side of Notre Dame, in the city which was also his birthplace.
Regional Programme London

Halle Concert

From The FREE TRADE HALL, MANCHESTER
(North Regional Programme)
A Mass of Life by FREDERICK DELIUS
DOROTHY STANTON (Soprano)
ASTRA DESMOND (Contralto)
TREFOR JONES (Tenor)
ROY HENDERSON (Baritone)
THE HALLE CHORUS
THE HALLE ORCHESTRA
Conducted by Sir HAMILTON HARTY
Choirmaster, HAROLD DAWBER
COMPOSED in 1904 and 1905, the Mass was first performed by Sir Thomas Beecham in 1909, in London. The most important of Delius's works for solo voices, chorus and orchestra, it is to many of his admirors the greatest music ho has yet given us. The text is chosen from Nietzsche's Thus Spake Zarathustra, the philosophy of life on which Strauss' Tone-poem of that name is founded. Fragmentary as tho text may appear in the selection Delius has made from it, it has so much of unity that the mood it sets forth is the joyful acceptance of life and all that it holds : any doubt or thought of grief which falls on the spirit is banished by happiness, and the Mass rises at the end to a very ecstasy of joy. The chorus, in eight parts, with a rich accompaniment, begins with an invocation to the will, bidding it prepare for the last great triumph: that is among the most exultant of all Delius's music. The clue to the mood of the baritone solo which follows is the line ' I have canonized laughter,' and the first dance-song comes next, after a beautiful prelude. It closes in more serious mood, and the first part ends with a sense of the peace of night.
Part Two begins with a calm introduction, leading to a joyous outbreak, with chorus, and afterwards solo voices, proclaiming the glory of noontide on the heights. Then, when Zarathustra has sung to his muso, there is a second dance song, for women's voices without words. It leaves Zarathustra musing in a melancholy which makes way for a peaceful scene of great beauty. The next movement sings of the quiet sadness of evening, and the end, after midnight has sounded, reaches an exaltation of happiness, to the words, ' Joy desireth everlasting Day.'
CHORUS
0 Thou my Will
Roy HENDERSON
Now lift up your Hearts
TREFOR JONES
In Thine Eyes I gazed
Roy HENDERSON
Woe is me ! Whither is Time fled? Night reigneth
CHORUS
Arise, now arise, thou glorious Noontide
Regional Programme London

The Week's Good Cause

Appeal on behalf of THE BENTHAM COMMITTEE FOR POOR LITIGANTS, by Mr. HAROLD M. ABRAHAMS
Contributions will be gratefully received by[address removed]
THIS Committee fills a serious gap in charitable legal work. Many poor persons who are able to obtain free legal advice from Poor Man's Lawyers, and hold that they should take their grievances to Court, have in the past found it almost impossible to have their civil cases presented in the County or Police Courts, and the initial outlay, in plaint and hearing fees, is out of all proportion to the amount of their claim. The Committee steps in here, and its solicitors and barristers undertake their charitable work without reward. It appeals for its own modest, but inevitable, running expenses only.
Regional Programme London

Sunday Orchestral Concerts-XVII

HELEN PERKIN (Pianoforte)
THE B.B.C. ORCHESTRA (Section B)
(Leader, ARTHUR CATTERALL)
Conductor, ADRIAN BOULT
Regional Programme London

An Operatic Programme

JOAN COXON (Soprano)
SUMNER AUSTIN (Baritone)
THE B.B.C. ORCHESTRA
(Section D)
Conducted by WARWICK BRAITHWAITE
O
IN the late summer of 1791, when Mozart was hard at work on the music of The Magic
Flute, and after he had begun the Requiem commissioned by the mysterious strangertwhose appearance is probably the best-known incident in his career, the overworked composer was begged to go to Prague and compose an opera specially for the Coronation festivities of Leopold II on September 6. The libretto chosen was one on the subject of the Emperor Titus, thought to be appropriate to the occasion, but it makes a poor operatic story, and the work has never been popular like Figaro or Don Giovanni. None the less, it holds much beautiful music in Mozart's very best vein. It has all the dignity which the imperial subject demands, as well as the brightness appropriate to a festival, and, it is full of smooth-flowing, gracious melody.
MOZART has himself left it on M record, in one of his letters, that the subject of this opera delighted him whenever he saw it. Ho says: 'In tho Overture, the chorus in the first act, and the last chorus of the whole thing, I shall work in Turkish music. 1 am so delighted at having it to compose, that the first songs and terzet in the first act are already finished.' The original name was The Abduction from the Seraglio, and the story, adapted by Mozart himself from a play of his day, turns on the capture of a fair lady by a Turkish Bashaw and her rescue by her faithful lover. The story is treated in the merriest spirit, and Mozart's tuneful music fits it admirably. This number is sung by Constance, the imprisoned fair one, before her rescue, and tells her love for her own Belmont.
Regional Programme London

'THE MODERN DILEMMA' —XXIV

Mr. T. S. ELIOT
THIS is the last talk in one of the most
-L successful sections of the ' Changing World ' Symposium. This series of twenty-four Sunday talks may well claim to have fulfilled its original purpose : ' to supply listeners with some anchor-holds in the stress and storm of the forces of transformation affecting them, and to create or re-establish faith.' To this end, besides the important groups of four talks, each given by Mr. Christopher Dawson , Professor John Macmurray , and Mr. T. S. Eliot , individual contributions have boon made by distinguished churchmen, such as the Rev. F. R. Barry and the Rev. Nathaniel Micklem , and such representative laymen and women as Mr. W. H. Jones , Dr. Harry Roberts , the well-known author, Miss Evelyn Underhill , an authority on mysticism, and Mr. Gerald Heard , whose scientific talks are a regular feature of the programmes. Mr. T. S. Eliot , who gives his fourth talk today, is in the first rank of modern poets and literary critics, and is Editor of The Criterion. His poetry has always been deeply concerned with the modern age : it was claimed for The Waste Land when it appeared ten years ago that it expressed the plight of the whole postwar generation. Mr. Eliot is deeply interested in religious problems, as his last book of verse, ' Ash Wednesday,' showed.
Regional Programme London

'The Gypsy Baron'

(' Der Zigeunerbaron ')
An Operetta
Music by JOHANN STRAUSS
Translated and adapted from the German of J. SCHNITZER by HENRIK EGE
Dialogue revised for broadcasting by GORDON MCCONNEL
Conductor, ADRIAN BOULT
THE WIRELESS CHORUS and THE B.B.C. ORCHESTRA
(Section D)
(Led by MARIE WILSON )
Characters in the order of their appearance :
Produced by GORDON MCCONNEL and JOHN WATT
Regional Programme London

Overture and Act I of Wagner's ‘ Tannhäuser ’

Relayed from THE ROYAL OPERA House,
COVENT GARDEN
Scene I : The Interior of the Horselberg
Scene 2: The Valley of the Wartburg,
Spring.
Conductor, Sir THOMAS BEECHAM
THE story of Tannhauser is one of conflict between the forces of sacred and profane love, and of the redemption of the erring Tannhauser by the devotion of the pure Elisabeth. The overture deals entirely with this theme, and leads, in the opera house, directly to the first act, which is the cavern where Venus has Tannhauser in thrall and holds her revels. The Venusborg Music, so well known in the concert hall, takes up the whole of the first scene, in which, against a background of bacchanalian revels, Venus is passionately fighting against Tannhäuser's uncontrollable wish (o break away from her charms and seek the light of the sun, the company of his friends, and the purer life of his knightly environment. He has his way, and the cavern of Venus gives place to a sun-lit landscape. Presently his friends appear on a hunting expedition, and welcome Tannhauser's return to them. Wolfram, his friend, reminds him of the love Elisabeth bears him and tells him that she is heartbroken at his absence. Overjoyed and full of contrition, Tannhauser returns with the company to the Castle.






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