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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 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.
' 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.'
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.
Mr. DAVID GARNETT, Walks through
AFTER, Chelsea and Westminster, in this series of Talks on interesting walks through
London, comes Bloomsbury, the Mayfair of the eighteenth century, whose waning fortunes, as the beau monde. gradually deserted it, have begun to revive in our own time since the ' intellectuals ' recolonized it, and its stately if faded terraces became the headquarters of the Bloomsbury School. Mr. David Garnett, who gives the Talk, holds the franchise of the district, for he is ono of the triumvirate that controls the Nonesuch Press in Great James Street, which has produced so many notable books. The grandson of the late Dr. Richard Garnett, of -the British Museum, and son of Edward Garnett , who ' discovered ' Joseph Conrad , and of Constance Garnett , the translator of the great Russians, he is himself the author of that celebrated story, Lady into Fox,' which was the talk of the season in 1921, and its no less remarkable successors, ' A Man in the Zoo,' and ' The Sailor's Return.' A new book of his, called ' Go She Must,' is to be published next month.
PEOPLE have only just begun to consider -*- food from the scientific angle, and consult the chemists and physiologists as to what they should eat. Professor Mottram. who holds the Chair of Physiology in the University of London, was one of the first of the scientists to bring the laboratory into the kitchen, and his book. ' Food and the Family,' is a landmark in the history of popular dietetics. In this series of six Talks he will explain the importance of careful selection in feeding from the point of view of physical and mental efficiency and health,
THE melodies of the Songs of Nyassaland, collected by Mrs. Ella Kidney , are those used by various African native tribes in their ceremonies and rejoicings. Some of the songs come from near Lake Nyassa. while others are boat songs and travelling songs from near the Zambezi River, and they were all heard and noted in circumstances of actual native use.
With one or two exceptions the English words which Mrs. Kidney has written are close translations of the original native words. Mr. Theodore Holland has arranged five of the melodies from the original collection for general use. They are free arrangements, but the melodies are unaltered.
1. Travel. A Road Song. suggesting endless weary walking along a hot road, the travellers' encouragement of each other by means of their songs, and the successful hunt for game by the way.
2. Lumentation. The Song of Mourning, used by some native tribes to the west of Lake Nyassa. The Lament is sung as a recitative, with the villagers joining in the refrain. ' hoya hoya ho.'
3. The Jolly Robbers. This is a light-hearted song of harvest time.
4. Boat Song. This was heard on a little river flowing north from the Zambezi, within a short distance of the spot where, by the river bank, Mrs. David Livingstone was buried.
5. A Chicken's Grief. Another gay harvest song. 6. Slavery. This song originated among natives who had been captured and driven from their homes by slave raiders.
MURRAY BROWN (Tenor)
JOSEPH FARRINGTON (Bass)
THE WIRELESS ORCHESTRA, conducted by JOHN ANSELL
No better introduction to a concert of dance music could be found than Sullivan's
Overture to the Ball, for although it is not written for dancing it brings the spirit of the Dance before us in many of its familiar forms, like the preamble to a Carnival ball. It is spirited music, written when Sullivan was twenty-eightâ€”before he dreamt of winning fame as a Composer of Comic Operas.
THERE is nothing in the fragments of dance music which Gounod wrote in his Opera The Queen of Sheba to suggest an improper approach to sacred matters. Yet this Opera was banned in England as being too Biblical. All that London was allowed to know of it in the 'sixties (it came out in 1862) was learnt from a concert performance at the Crystal Palace, under the title of Irene, with all the Biblical references removed.
COPPELIA is perhaps the most famous of the pre-Russian ballets. It was produced at the Paris
Grand Opera in 1870, and has never lost its place in the repertory. Many of to-night's listeners will remember the glories of Adeline Genee 's dancing when Coppe!ia was running at the Empire, London; and many wil! find that the tunes in this selection have, in some way or other, already become familiar.
IN the Opera of Henry VIII. the King holds a fÃªte in the gardens of his palace at Richmond, a circumstance so unhistorical that the fete, and with it this Gipsy Dance, had to be omitted when the Opera was performed at Covent Garden Theatre.
A short Play written specially for Broadcasting by A. J. ALAN Cast
(Two Smart Modern Sisters who are house-hunting)
ON the front-door steps of an empty house,
88, Lansdowne Crescent, Albert Buckle is standing. He and his wife, the caretakers-in-charge, are just starting out to get a few things from the neighbouring shops before they close.
IN Moore's Lalla Rookh Feramorz (as it is there spelt) is the name of the wandering Kashmiri minstrel (really a Prince in disguise).
The ' Ballet Music ' consists of Interludes played between the Acts of the Opera.
A FTER discussing the modern office-block, church and small house. Professor Reilly
. proceeds to an architectural problem still further from being solved-that of the street considered as an architectural whole. Since the early nineteenth century London, for instance, has allowed its streets to grow up haphazard, with the results. that we see in such heterogeneous strings of ill-assorted buildings as Oxford Street and the Strand. Within the last year or two we have seen the final disappearance of the old 'Regent Street, one of the great triumphs of street-design, and its replacement by a modern attempt which, in the opinion of many critics, is a lamentable failure. Professor Reilly is known to hold strong views on this subject, and what he has to say on the new street-a picture of which appears on the next page-and on the whole question of street-design will be of particular interest to listeners.
The Famous Scottish Comedian
In His Character Sketches and - THE LONDON RADIO DANCE BAND, directed by SIDNEY FIRMAN
10.0 FLORENCE HOLDING (Soprano). JOSEPH SLATER (Flute)
PURCELL'S song comes from a play by Shadwell, The Libertine, one of many for which he wrote incidental music. The words are a jolly invitation to lads and lassos to come away to sport and play, 'for this is Flora's holiday.'
FREDERICK KEEL is a well-known arranger of old songs and Composer of new ones, many of which have something of the spirit of the Elizabethan ago. fPHE last song was, in its original form, a duet for two Sopranos. Its gay invitation runs :â
Sweet nymph, come to thy lover.
Lo, hero alone our loves we may discover,
Where the sweet nightingale with wanton gloses, Hark, her love too discloses.
THE Flute was held in greater respect during Handel's days than it is now, when it seldom emerges from the Orchestra except for the playing of show-pieces or bird-music. Some of the most refined and dignified Concerted works of the eighteenth century were composed for groups of players in which the Flautist was a partner, and Sonatas were also written for the instrument. 'Sonata' in those days had not the meaning it took on later, when Haydn built up the form into a homogeneous whole. In Handel's time alternating slow and quick Movements, one or more of them in dance rhythms, made up the Sonata.
Quantz was a celebrated Flute player of the eighteenth century who began as an Oboeist-He taught Frederick the Great to play the flute, and the Emperor made him Court Composer.
To the English mind it may seem strange that a restaurateur should be a connoisseur and a patron of the arts. But M. Marcel Boulestin is a Frenchman, and holds the traditional opinion of his countrymen that food and drink are fit materials, even as are clay and pigment, for the creations of the artistic mind.
He knows all about wastage in the kitchen, but he is equally expert on a variety of subjects more highly regarded in this country including modern French painting and the works of Mr. Max Beerbohm, of which he has a fine collection.
RECITAL by THE LONDON WIND QUINTET
ROBERT MURCHIE (Flute); LEON GOOSSENS (Oboe); HAYDN DRAPER (Clarinet); FRED WOOD (Bassoon); AUBREY BRAIN (Horn); VICTOR HELY-HUTCHINSON (Pianoforte); FLORENCE HOLDING (Soprano)
In Handel's day the Oboe was a very important orchestral instrument, and there were some very fine players upon it. Chamber music, for a few instruments only, was not then so popular as it became under Haydn and Mozart; but as the Oboe was one of Handel's favourite instruments, he wrote several Sonatas for it, with Harpsichord accompaniment.
The Sonata in his day, of course, was not the fully-developed affair that Haydn and Beethoven made it. It was more like a Suite of four Movements in contrasted moods, none of the four being at all elaborately constructed.
THIS is one of Beethoven's early works, in which he was exploring the possibilities of Chamber Music, for both Stringed and Wind instruments.
There are half-a-dozens Movement in the work, all containing a pleasant tincture of Mozart and Haydn.
First we have a lively and graceful Movement, next a lovely serene Slow Movement, and after that a Minuet.
Fourthly comes a set of Variations on a melody much like a folk-tune.
A Scherzo follows - a sort of gay, jesting Minuet; and then a few bars of March music bring in the brisk and brilliant Finale.
The oldest 'May Meeting' in the world opens next Friday, when the Society of Friends holds its 200th yearly meeting at its new headquarters in the Euston Road. It is appropriate, therefore, that there should be a Quaker speaker tonight. Mr. Carl Heath is Secretary of the Friends' Council for International Service, and he is particularly in touch with Quaker work in Europe, where his idea of 'Quaker Embassies ' has led to the formation of centres in Paris, Geneva, Vienna, Berlin, Warsaw, and other cities. He is the author of several books, including one on 'Religion and Public Life.'
Conducted by EUGENE GOOSSENS
THE WIRELESS MALE Voice Chorus (Chorus-master. STANFORD ROBINSON), assisted by THE RAILWAY CLEARING House MALE VOICE CHOIR
(Conductor : JOHN E. WEST)
THE WIRELESS SYMPHONY ORCHESTRA (Leader. S. KNEALE KELLEY )
'THE LOVE FEAST OF THE APOSTLES' (Wagner)
A Biblical Scene for Male Voice Chorus and Orchestra
THE LOVE FEAST OF THE APOSTLES was written soon after Wagner settled at Dresden as Chief Music Director. He had as yet only just begun his great series of Operas and Music Dramas. with Rienzi and The Flying Dutchman. He became leader of a Male Voice Choir which had not long been established at Dresden, and wrote the Love Feast for a choral Festival which he conducted in the summer of 1843 (when he was thirty). The music, which he dedicated to Frau Weinlig, the widow of his former teacher, was performed in church by over a thousand singers.
The words, writ ten by the Composer, are based on the scene in Chapter iv of the Acts of the Apostles. The music is laid out for a large male choir, divided in several portions of the work into three smaller choirs, for each of which the music is written in the usual four vocal parts.
The work opens with an unaccompanied portion for four-part ' Full Choir of Disciples,' the words (in the English translation as published by Messrs. Novello) beginning : ' We greet you, -brethren, in the Lord's name, Who at this feast in concord us unites, that we thereby may keep Him in remembrance.'
Then the Second Choir enters with the words 'We are oppressed, the mighty hate us sore..... Who can tell us how soon we part, in grief to languish ? ...' The Third Choir responds with 'Hold firm your trust,' and there is a dialogue between the fearful ones and the confident. The First Choir is added, singing ' Draw near. ye that hunger and are thirsty, to comfort you He doth give His flesh and blood.' So the movement goes on, the anxious ones being reassured by the majority of their fellows.
In the second part of the work (still unaccompanied) we hear the voices of the Apostles (twelve Basses sing this music), above the rest of the Choir. The twelve greet and Mess their brethren in the name of Christ, and warn them that persecution awaits them. The Apostles tell how their good works have roused the enmity of powerful foes, who have commanded them to cease their teaching.
All pray to God for strength to carry on their work of proclaiming the gospel. ' Send to us Thy Holy Ghost. they cry.
Immediately are heard ' Voices from Above ' singing ' Peace be yours, I am at hand, and My Spirit is with you ... Be not afraid.'
Here the Orchestra enters, and in the next section there is a gradual increase of tone, while the Choir sings ' What rushing now fills the air ? ... Salute we Thee, Thou Holy Ghost, for whom we prayed.....' The Apostles bid them ' give ear to what the Spirit hath to us declared. Though men may threaten, their threats are all in vain.' They then charge the faithful to go and ' bear joyful witness to the world of your Redeemer's wondrous deeds.' The disciples respond joyfully, and with an ascription of praise to God the work Comes to its end.
S.B. from Manchester
With this talk Professor Weiss, who holds the chair of Botany in the University of Manchester, concludes the series in which he has described the community life of plants and the way in which their development is modified, not only by their environment generally, but by each other.
THE WIRELESS ORCHESTRA, conducted by JOHN ANSELL
FLORENCE Holding (Soprano)
Overture to ' The Magic Flute '
ONE of Mozart's last great works was that favourite Opera, The Magic Flute, which has been broadcast in full more than once.
Mozart was a Freemason. Freemaeonry was very much ' in the air ' at that time, and all the curious plot of The Magic Flute has Masonic ideas at its foundation.
There is much elaborate ceremonial in the Opera, and we hear suggestions of this in the impressive introduction to the Overture, and also later in its course.
After the Introduction we have the First Main
Tune. This is ' 'fugal,' i.e.. one ' voice ' (in this case an instrumental ' voice ') starts all alone with the Tune; next another voice enters, repeating the Tune at a different pitch, and so on. This First Main Tune really runs through most of the Overture. For instance. Bassoons and Clarinets continue playing the beginning of it while Oboe and Flute are playing the Second Main Tune.
With this material the Overture trips along happily and straightforwardly. with only one serious check-when we have solemn ceremonial again recalled.
ONLY a few months before his death Mozart wrote a Concerto for his friend Stadler, a fine player of the Clarinet, for whom, two years before, he had composed a Quintet having a prominent part for his instrument.
Besides the Solo Clarinet, only a small Orchestra is employed--two Flutes, two Bassoons, two Horns, and Strings. There arc, as usual, three separate Movements.
FIRST MOVEMENT (Quick). Quietly the Clarinet and Strings set out on the suave, flowing First Main Tune ; after the first sentence the Full Orchestra takes it up, somewhat loudly, and this continues for a few moments. A few loud chords and a break suggest that we have come, so to speak, to the end of a paragraph, and shall have something new ; hut the Orchestra quietly goes on discussing the First Tune.
At last the Clarinet Soloist is allowed to take the lead, and he begins by decorating the First Tune, being given a very light background of Violins and Violas.
SECOND MOVEMENT. This is well known as a separate piece. It begins with a delightful singing melody, a sustained, expressive song for the solo instrument. In a short middle section, introducing varied matter, the Clarinet begins to add some graceful decoration to the melodic outline, and this artistic elaboration is continued when the original theme is resumed. More than once in this Movement (notably at the very end) we hear the rich lower notes of the Clarinet.
THIRD MOVEMENT. Rondo (Quick).
This Finale is a very gay, dainty dance-like piece in which one Tune returns time after time.
The Soloist performs practically every possible feat, and the Orchestra provides some exquisite little touches of colour. Yet one feels all the time that ' the music's the thing.' 10.0 FLORENCE HOLDING, with Orchestra Voi che sapete ('You who know')
Non so piu cosa son I know not what I am ') (' The Marriage of Figaro)
THE first song is sung by the lovelorn page, Cherubino, who worships his mistress with dog-like fidelity. In the Countess' presence her maid Susanna twits Cherubino about a song he has written to his mistress. The Countess bids him sing it. to Susanna's guitar accompaniment. So he sings this rather plaintive song of the pangs of love.
The second song is also sung by Cherubino, who, though he is in love with the Countess, is flirting with her maid. He steals from her a ribbon that belongs to the Countess, and placates the maid by giving her a song he has written about her mistress. 10.7 ORCHESTRA ' Jupiter ' Symphony-Slow Movement and Finale
Overture to ' The Seraglio '
THE nickname was not given to the Symphony by Mozart ; but while it does not apply to the whole work, it does aptly fit the first and last Movements, which have a fine Jovian breadth and vigour about them. There are four Movements in all, of which we are to hear the Second and Fourth.
SECOND MOVEMENT. (Fairly slow, and in a singing manner.) This opens with the Strings muted, singing a lovely tune. In this spirit the Movement continues. Listen for the charming passage in which a little sixnote motif is taken by various instruments in turn in this order : First Violin, Second Violin, Bassoon, First Violin, Oboe, Second Violin, Flute, Oboe, Flute, Oboe, Flute. This sort of delicate playfulness is characteristic of Mozart.
FOURTH MOVEMENT. (Very quick.) This opens with a passage (Strings alone) in which a sober, plain-song-like theme of four notes alternates with a flippant quicker one.
Observe this and a minute later you will be interested to see how the plain-song theme is given to all the stringed instruments in turn, in the manner of a Fugue (in order, Second Violins, First Violins, Violas, 'Cellos, Double-Basses).