Conducted by ALBERT COATES
Relayed from the Queen's Hall
(Sole Lessees, Messrs. Chappell and Co., Ltd.)
THE B.B.C. SYMPHONY ORCHESTRA
(Principal Violins: WYNN REEVES and S. KNEALE KELLEY )
Part I
JUVENTUS is a full-sized Symphonic Poem in one movement, although tho mood changes several times. It begins with an impetuous Allegro section in which the first soaring theme makes its decisive appearance almost at the outset. In this form and in various transformations it has a large say in the work. Very soon afterwards another exuberant theme is heard on first violins; it, too, is freely used, and before the end of the opening section there is still a third vivacious melody, which appears in fuller form a little later. On these the long first section is built up with real exuberance and vigour; there are subsidiary themes, but all are closely akin to one or other of those heard first. The first part of the piece sinks eventually to soft tone, and very quietly a calm, languorous section succeeds; tor a little it and the vivacity of the opening interchange, to lead anon to a longer sustained movement. Here flutes, clarinets, trumpets, and violas, announce the theme, but it is interrupted ever and anon by hurrying figures on the strings. This calm section comes to an end very quietly with long-held chords and a tremulous bass, and then, gradually at first, the vivacity of the opening returns, with the same themes as in the first part of the piece. It is interrupted once more by a broader section, but it is the exultant spirits of the opening which bring the work to its joyous close.
THE third has always been the most popular of Tchaikovsky's five orchestral Suites ; the last movement-the longest and most important in the Suite-has a specially strong hold on tho music-lover's affections. It is an Air with variations. The theme, as simple melody, is played by the strings alone, In the first variation flutes and clarinets join forces with the strings, pizzicato. Variation two employs a fuller orchestra, and the third the woodwinds have to themselves, the flute beginning the theme and handing it to the clarinet. The fourth variation is in minor for the whole orchestra, and five has a fugal treatment. Number six is a Tarantelle, seven, like a solemn Chorale, is again for the woodwinds alone. The ninth is a jolly rustic dance, and a violin solo is the feature of number ten. Variation eleven is a quiet, serene movement, and the twelfth is a brilliant Polacca, the longest and most important of the series.