THE WIRELESS ORCHESTRA, conducted by JOHNANSELL
THE plot of the Opera Euryanthe was made out of a thirteenth-century tale of knightly doings, full also of ghosts, fairies and suchlike legendary folk. The work did not hold the stage; its libretto was too silly, even for those days. But the Overture found and retained a place on the concert platform. In it, Weber strikes the notes oi chivalry and mystery. According to his characteristic plan, it contains fragments of the Opera's leading airs.
Conducted by JOHN ANSELL
' SPOILING THE BROTH '
A Short One-Act Comedy by BERTHA N. GRAHAM
THE scene is Mrs. Chance's kitchen.
Joey Chance , a loutish-looking youth, is sitting in a chair ; he holds in his hand a small bottle with the cork out.
' TAFFY'S WIFE '
By BERTHA N. GRAHAM Characters :
THE scene is the Evans's flat in Battersea.
The room is dark but for a faint glimmer of firelight. The door is open, showing the corridor and a hat rack.
Taffy Evans, young, fair. boyish and excitable.comes in. switches on the light and hangs up his hat nnd overcoat, talking as he does so to Robert Cressall , a much older man.
THE ever-increasing industrialization of the East constitutes an important problem in the world organization of today, and it is significant that Sir Atnl Chatterjee , tho High Commissioner for India in London, should bo this year's President of the International Labour Organization of the League of Nations—the first non-European to hold that office. The I.L.O. is likely to bo brought into increasing contact with the East in future years, and, as one who has been prominently identified with the study of industrial problems there. Sir Atnl is in a position' to exert an important influence on the relations between the Far East and the League.
MONGST historians of the modern type,
A whoso books are as lively and readable as most novels, Emil Ludwig holds a high place. His books on 'Napoleon,' 'Bismarck' and ' Kaiser Wilhelm ' have aroused much interest in England, and the two latter especially have given a new interpretation of the most keenly debated questions in modern political history.
A Play about a Good Woman by OSCAR WILDE
Produced by HOWARD RosE
SOME of the younger generation, who had heard much of the brilliant wit and decadent elegance of Oscar Wilde , may have been a shade disappointed if they attempted to read his novels and his verse. But as a play-wright Wilde still holds the rage, and it is impossible to deny his claim to be the finest writer of the comedy of manners that the British theatre had produced since Sheridan's timo.
Even now, in the very different intellectual atmosphere of ' after-the war,' there is a fin-desiicle sparkle about, for instance, Lady Windermere's Fan that makes one sympathize with the excitement that pervaded the London of the Yellow Book cult when it was first produced at the St. James's Theatre in February, 1892, and founded the fame that Wilde was to enhance with his later plays.
Lady Windermere's Fan has been broadcast
. before, just about two years ago. On that occasion Miss Edith Hunter , Miss Irene Rooke and Miss Marjorie Clark-Jervoise took the same parts that they will play tonight.
The Musical Numbers are as follows :
Introduction and Opening Chorus,
' This English Land '
Duet (Dorothy and Percy) and Chorus, ' In 1688'
Song (Derek), ' Home Again ' '
Song (Mary) and Chorus,' Sunshine and Laughter '
Quartet and Gavotte (Mary.
Dorothy, Percy and Derek). ' Shepherdess and Beau Brocade
Duet (Abigail and Solomon), ' When we get back to Dorset '
Song (Derek and Chorus), 'Unavailing little lady '
Song (Mary). ' When a dream of love you cherish'
Finale (Principals and Chorus), But stay, confession I should make
Song (Bunkle) and Male Chorus.
' We've searched the countryside '
Song (Abigail), ' I want my man to be a landlord '
Madrigal (Chorus), How strange this tumult '
Trio (Abigail. Solomon and Bunkle).
Song (Mary), ' The old-fashioned cloak'
Chorus of Serving Maids, 'Serving maidens merry '
Duet (Solomon and Bunkle) and Male Chorus,
' Ho, ho, diddle dum'
Song (Mary and Chorus), ' Are my lanterns shining ? '
Finale (Principals and Chorus), ' Now, hold, can we not save ? "
Opening Chorus, ' When the heart is blithe and jolly
Song (Derek) and Chorus, 'The Fishermen of England'
Song (Mary), ' Sail my Ships '
Madrigal (Chorus), ' Wisdom and Folly"
Duet (Mary and Derek), ' Now stand we on the summit of the hill'
Finale, ' They have come from over the Seas '
A PLAY by MAX MOHR
The English Version by SUSAN BEHN and CECIL LEWIS
Sung by HELEN HENSCHEL (Soprano)
Die Vogel (The Bird)
Mignon's Song : Nur wer dio Sehnsucht kennt
(Only the longing heart knows)
Der Wachtelsehlag (The Quail Cry)
Im Abendroth (At Sunset)
Der Musensohn (The Son of the Muses)
IN Die Vogel the voice suggests the free swoop and curve of the bird, and contrasts its care-free life with the anxieties and narrowing cares of men.
Mignon's Song, from Goethe's Wilkelm Meister , is well known in settings by various composers, Tchaikovsky's being the most commonly sung of all. 'Only the longing heart can know my grief, far from the loved one,' is its burden.
In Der Wachtelschlag the call of the quail is fancifully likened to a voice crying ' Fear God,' ' Love God.' The listener is enjoined, as he surveys the rich fruits of the earth, to ' Praise God ' and, whenever he stands in terror, to ' Pray to God.' Always he is to ' Trust in God,' who ever holds him in His care.
Im Abendroth is an evening meditation on the loveliness of God's world, that ca!ms the soul and fills it with the assurance of His presence.
Der Musensohn is a lively lad who pipes for any who will hearken.
W. H. SQUIRE (Violoncello)
The WIRELESS ORCHESTRA
Conducted by JOHN ANSELL ROSSINI, happily remembered as the most modest and good-humoured musician who ever lived, holds his place on the operatic stage of today solely by The Barber of Seville, in spite of its age, one of the best Comic Operas which the world possesses. His serious work William Tell is no less worthy of affectionate regard, but except for the Overture, it has apparently disappeared from the present-day theatre. The Overture is, however, evergreen, and bids fair to remain so. It begins, as listeners will remember, with a fine tuneful section for the violoncellos in four parts, popular with violoncello players and with listeners alike. The section which follows describes a great storm among the hills ; calm succeeds, and a quiet pastoral scene, and there is a stirring march, these combining to make the Overture both picturesque and graphic.
Dr. DUGALD CHRISTIE : ' Medical Work in Mukden'
S.B. from Edinburgh
T0 hold the Imperial Order of the Double
Dragon and the Order of the Precious Star is in itself an indication that the foreigner so honoured has done great service to the Chinese; but when one hears that Dr. Dugald Christie is the only British subject to whom, during his lifetime, a public memorial has ever been erected by the Chinese, one realizes that his work must have been of a truly exceptional character. In this afternoon's talk Dr. Christie, who was formerly Superintendent of the Mukden Medical Mission and Principal of Mukden Medical College, will recount some of the achievements of modern medical science in tho historic land of Manchuria.
(Picture on pag2 649.)
ELSIE SUDDABY (Soprano) ; ROBERT MAITLAND
(Bass) The WIRELESS ORCHESTRA (Leader, S. KNEALE
KELLEY), Conducted by LESLIE HEWARD
IN the Midsummer Night's Dream Overture you will hear: (1) Fairies (light, flitting music for the first minute or so) ; (2) Festal pomp; (3) The bray of an ass (Bottom, ' translated '). These are the three outstanding ideas from which this wonderful Overture grows. The work is famous for its fine quality, and for the fact that Mendelssohn wrote it before he was eighteen.
THIS is the song-or rather speech set to music-in which the worthy Pogner, a ripe citizen of Nuremburg, declares that he will give the hand of his daughter to the suitor who shall best prove his claim by minstrelsy. The declaration is made at a meeting of Mastersingcrs on a Sunday morning in the sixteenth century.
DEBUSSY'S Orchestral Prelude The' Afternoon of a Faun is a dream-picture of a yesterday-afternoon, vaguely remembered by a Faun (a woodland half-deity) who tries to recall whether he actually encountered ' nymphs, white and golden goddesses,' or whether it was but the ' shadow of a vision, no more substantial than the notes of his own flute.'
The music was suggested by a poem of Mallarme. Its lines and its images have not been ' followed,' but rather felt or experienced, so fine and luxurious is this wonderful painting in the tones of a modern orchestra.
In Festivities, the first of three Nocturnes, Debussy intended to make a musical picture of ' the restless dancing-rhythm of the atmosphere interspersed with sudden flashes of light.' ' There is also,' he said, ' an incidental procession (a dazzling imaginary vision) passing through and mingling with the aerial revelry; but the background of uninterrupted festival is persistent, with its blending of music and luminous dust participating in the universal rhythm of all things.'
Thus the aim is to give, in terms of sound, impressions of the rhythmic effects of light and of cloud-formations.
IN Summer, the second part of Haydn's Cantata
The Seasons, we have songs of noon and of sultry afternoon (' and panting languid man and beast outstretched upon the ground'); then comes this song of pleasant shades and cooling breezes. In the opening Recitative the playful Haydn lets us hear (in the orchestra) the purling brook and the hum of insects. fPHE most commanding character among the Mastersingers of Nuremburg was Hans i Sachs, a man of action (he made boots) and of 3 contemplation (ho was a poet). In the Prelude ; to the third Act of Wagner's Opera the orchestra gives us a picture of Sachs in thoughtful mood. The Dance-a light tripping measure-shows us 'prentices at play. Presently they are scattered to their posts by the approaching Procession of the Mastersingers' Guild, come to hold a high ceremony-the singing contest foreshadowed early this afternoon in ' 'Pogner's Address.'
Conducted by the DEAN OF WESTMINSTER, The Very Rev.
W. FOXLEY NORRIS, D.D.
Cbe Cenotapb, Whitehall
Order of Service :
Hymn, ' O God, our Help in ages past' Prayers
Anthem, Wisdom iii, 1, 2 Collects
Hymn, ' All people that on earth do dwell ' The Benediction
The Placing of the Legion's Wreath
THE LAST POST
THE NATIONAL ANTHEM
THE Annual Service that the British Legion holds at the Cenotaph is, next to the Armistice Day commemoration, the most impressive event that takes place at the National War Memorial during the year. Last year this service was relayed, and many listeners will remember tho solemn beauty of it-the prayers, the Benediction, the Last Post and the Reveillé, and the lovely singing of the Westminster Abbey Choir. This year's service will follow the same lines ; it will again be conducted by the Dean of Westminster, and the Abbey choir will again take part. In addition, the broadcast transmission should reach an even higher standard, as permanent arrangements can now be made at the Cenotaph (this year the Armistice Day ceremony will be relayed for the first time), and there will be no need to employ overhead cables or wires.
PAUL HERMANN (Violoncello)
THE NATIONAL SYMPHONY ORCHESTRA
Conducted by Sir HENRY WOOD
Relayed from the Queen's Hall (First Performance in England)
MARCEL LABEY is a French composer, born in 1875, who after being one of d'Indy’s pupils at the Sehola Cantorum, became a Professor of Pianoforte there. He is a member of the Société Nationale de Musique, which since 1871 has given many concerts every year, to introduce the works of living French composers.
Labey's compositions include a three-act
Opera, Birengere, which won a prize in 1927, two Symphonies, an orchestral Fantasia, and this Overture for a Drama, besides sonatas and other chamber music, and songs.
ERNEST BLOCH , born in Switzerland of Jewish parents, forty-eight years ago, is notable as a composer who in several of his works set out to write music embodying the spirit of ancient Jewry, with its sombre dignity, its barbaric element, and its sense of remoteness and mystery.
He himself has said of his work :—
' It is not ray purpose, not my desire, to attempt a " reconstitution ” of Jewish music, or to base my work on melodies more or less authentic. I am not an archaeologist. I hold it of first importance to write good, genuine music, my music. It is the Jewish soul that interests me, the complex, glowing, agitated soul, that I feel vibrating throughout the Bible: the freshness and naivete of the Patriarchs ; the violence that is evident in the prophetic books ; the Jew's savage love of justice ; the despair of the Preacher in Jerusalem; the sorrow and the immensity of the Book of Job ; the sensuality of the Song of Songs.'
The Symphony ' Israel* is in two main Movements, the first having an Introduction, which leads to the quick, agitated Movement proper. This contains music both wild and calm, but the storms of life do not subside in it for long.
The other Movement, which succeeds without break, is in gentler mood, and in this Bloch employed the voices of two Sopranos, two Altos and a Bass.
THE NATIONAL SYMPHONY ORCHESTRA
Conducted by Sir HENRY J. WOOD
THIS fourth Concerto has three Movements— a quick one, a graceful slow one, in which the Flutes hold the melodic line, and a magnificent fugal Finale.
OTTORINI RESPIGHI'S new 'Preludes,' written in 1926, were suggested by the pictures in the stained-glass windows of Italian churches; in the music the ancient church modes arc suggestively used.
1. The. Flight into Egypt. The composer describes this as 'a tonal representation of the little caravan on a starry night carrying the Treasure of the World.'
II. The Archangel Michael, driving the rebellious angels from Heaven.
III. The Matins of Santa Chiara (St. Clare).
Legend has it that once. when St. Clare was ill, and grieved at not being able to attend matins, she was miraculously transported to the church.
IV. St. Gregory the Great, in all the pomp of hie office, blessing the people.
LIVIO MANNUCCI (Violoncello)
JOSEPH FARRINGTON (Bass)
THE WIRELESS MILITARY BAND
Conducted by B. WALTON O'DONNELL
THERE were two brothers Marcello, both of whom were important figures in their own day, but it is the younger, Benedetto, who is best remembered. A lawyer by profession, he held several important Government posts, and was a real scholar in more than one branch of learning. But in spite of heavy official duties, he found time to win distinction both in music and in literature, and his biggest work is still regarded as taking a very high place in the history of music. It consists of eight folio volumes of Psalms for one, two, three or more voices with figured bass, and sometimes with obbligatos for violins and violoncello. The collection was held in esteem not only in Marcello's native Italy, but elsewhere, and the whole eight volumes were published in an English edition in 1757. He wrote a good deal of instrumental music, too, as well as songs, madrigals, operas, cantatas, and at least one oratorio, furnishing the texts himself for all these last. He wrote besides on musical and other subjects, and many of the European libraries have interesting MSS. of his. To us, one of the most interesting is a Cantata Timotheusfor which the text is a translation by Marcello of Dryden's poem. It is in the State Library at Dresden. His music was so highly thought of even in his own day that it is odd to find our historian Burney speaking rather slightingly of it, suggesting that it had been too much praised and that it was not very original. Burney was so much more often carried away by his enthusiasms that it is odd to find him at variance with a contemporary verdict which history has whole-heartedly endorsed.
There is a monument to Marcello in the Church of San Giuseppe at Brescia, recording his achievements as statesman, musician and poet. It is almost solely as musician that we hold him in grateful remembrance now.
EVEN in its original form as pianoforte music, the piece by the Russian composer Liadov contrives to give an excellent imitation of an old musical toy-a musical snuff-box which produced little tinkling tunes. In this arrangement, the Glockenspiel and other delicate-toned instruments of the band have even less difficulty in bringing off the same illusion. Apart, however, from its interest as an imitation, it is a charming little piece, dainty and melodious.
HOLST is one of the comparatively few modern
English composers who have shown a real interest in the value of Military Band music, by composing specially for it.
This Suite is in three movements. The first is a Chaconne, a modern treatment of an old form in which the music is built up of one phrase repeated over and over, generally in the bass, although occasionally in other parts, and with constantly varied treatment and interest. The second is a melodious and graceful intermezzo, and the third is a lively and vigorous March with a thoroughly popular march tune.
A Request Programme
THF. WIRELESS MILITARYBAND
Conducted by B. WALTON O'DONNELL
ROSSINI, happily remembered as fhe most modest and good-humoured musician who ever lived, holds his place on the operatic stage of today solely by The Barber of Scville-in spite of its age, one of the best Comic Operas which the world possesses. His serious work,
William Tell , is no less worthy of affectionate regard, but except for the Overture, it has apparently disappeared from the present-day theatre. The Overture, is, however, ever green, and bids fair to remain so. In its original orchestral form, it begins, as listeners will remember, with a fine tuneful section for the violoncellos in four parts, popular with the violoncello players and listeners alike. The section which follows describes a great storm among the hills; calm succeeds and fine tuneful section for the 'cellos in four parts, popular with 'cello players and with listeners alike. The section which follows describes a great storm among the hills ; calm succeeds and a quiet pastoral scene, and there is a stirring march, these combining to make the Overture picturesque and graphic in a way that the Overtures for the older Italian operas did not by any means always achieve. The characteristic tone of the violoncellos, at the beginning, cannot quite bo reproduced by a military band, but the universal popularity of the Overture in the latter form makes it clear that the average listener is no pedant in the matter of characteristic tone. The tunes matter to him more than the voices or instruments which present them.
THE WIRELESS STRING ORCHESTRA
Conducted by JOHN ANSELL
THE WIRELESS SINGERS
Conducted by STANFORD ROBINSON THE first movement of this fresh and wholesome music of Dvorak's begins with a rather sad little fragment of tune ; it makes way very soon for a brisk and energetic figure, after which, the first melody returns. The second movement is a waltz ; the first strain is lively and rather energetic, and the alternative section in the middle, more tender in character. The third move. ment, a Scherzo, is very lively, and its chief tune is eloquent of good spirits. In this movement, too, there is a calmer section, which interrupts the laughter of tho,first tune more than once. The fourth movement is a plaintive song which the first violin begins and in which the other instruments share, and the last is again very vivacious and light* hearted in character. There is a hint of mischief in the way in which the last note of each bar, in the chief tune, is given a vigorous punch.
Mr. PERCY PITT, happily known to wireless listeners as the B.B.C.'s own Director of Music, has had a largo share in raising British music to the honourable position which it holds today. His labours on behalf of Opera in this country are known to all, and from time to time listeners have had opportunities of hearing how well he can turn to account his knowledge of the orchestra in light-hearted, as well as in serious ways. This comparatively slight piece is a happy example of gracious melody, and of the skilful way in, which he can present it.
' Six Types of Tudor Prose
V, The Literature of Travel,' by Mr. T. S. ELIOT
FOR the Elizabethans the world was, in a sense it is not today, their oyster. From the comparatively narrow confines of Europe (with occasional expeditions, such as the Crusades provided, into remoter regions) the popular imagination was suddenly invited to widen out to new continents, new seas, new peoples. The effect of such a stimulus on the thought and literature of the time is incalculable. Only by the use of the most fantastic facts (and fictions) can the travel writer of today hold the popular interest in the world outside our ken ; it was enough, in Tudor days, however, to set before the reader the simple facts themselves. To this simplicity must be added the native dignity of Elizabethan prose.
For his fifth talk Mr. Eliot takes this literature travel as his illustration of Tudor prose, emphasizing especially Raleigh's account of the Revenge and Hakluyt's famous Travels.
A Toye; His Dreams; His Conceit; His Rest;
His Humour (A Wayward Fancy) The Fitz William Collection, which embraces many valuable works of art besides its collection of music, was bequeathed to Cambridge University in 1816 by Viscount Fitz William. Partly printed and partly in manuscript, it contained many fine old English pieces which would otherwise have boon hopelessly lost-a veritable storehouse on which scholars and musicians are still drawing freely. One of the most interesting, as it is one of the most valuable, books in the collection, is the volume which used to be known as ' Queen Elizabeth's Virginal Book,' now called "The Fitz-William Virginal Book. ' The binding alone makes it a specially prized possession, but the beautifully written music which it holds is a unique collection of old English compositions. Many works are dated, and it is clear that the book can never have belonged to Queen Elizabeth, although the actual origin of it and its early history are still something of a mystery.
The Virginal was a little keyboard instrument rather like a Spinet, and was certainly popular in England in Tudor times. Henry VIII is supposed to have played it well. and in old histories we read that although Queen Elizabeth was a good performer, she was surpassed by Queen Mary. Mention of the instrument can be found in Stuart records, too, although by that time the harpsichord had begun to be more generally played. Quite a number of Virginals may still be seen in museums; there is a specially fine example by the English maker, John Loosemore , made in 1655, in the Victoria and Albert Museum in London. It is elaborately decorated with painted panels.
Relayed from St. David's College,
S.B. from Swansea
St. Divid's College celebrated its centenary on October 11, 1927. The Archbishop of Canterbury was present and the Archbishop of Wales preached at the centenary service.
Hymn, 'Hail! Gladdening Light-
(A. and M., No. 18)
The Lord's Prayer Versifies
Collect for the Third Sunday in Lent
Prayers and Intercessions
Hymn, ' The King of Love my Shep
'herd is ' (A. and M., No. 197)
Address by the Rev. Canon MAURICE
JONES, D.D. (Principal of the College)
Hymn, 'Sweet Saviour in Thv Pitying
Grace ' (A. and M., No. 490)
A HUNDRED years of Welsh history are enshrined in the records of the Colloge from which a service will be Broadcast tonight. The College was founded October 11, 1S27, and when it held its centenary celebrations the Archbishop of Canterbury was present, and the centenary sermon was preached by the Archbishop of Wales. Forty years earlier another Archbishop of Canterbury laid the foundation stone of the building that still bears his name— a pleasant, dignified block that, like most of the College buildings, recalls one of tho Oxford Colleges. It is not an inappropriate resemblance, for St. David's College is not'a theological collego in the ordinary sense; although it was founded for the training of Ordination candidates, it. holds University status by Royal Charter, and it can confer degrees. Another interesting feature of its constitution is that it is open to all. without distinction of creed.
(For 8.45 to 10.30 Programm opposite page)