MAY HUXLEY (Soprano)
EDA KERSEY (Violin)
THE WIRELESS ORCHESTRA
Conducted by John ANSELL
THIS Symphonic Poem of Saint-Saens is based on the old classical tale of how
Phaeton persuaded his father, the Sun, to let him drive the fiery chariot across the sky. Listeners will rememberithat in the old tale the horses got out of hand, and the chariot was on the point of crashing into the earth to wreck it, when Jupiter hurled a thunderbolt which deetroyed the youth and his car.
There is a short and impressive-introduction and then we hear the galloping steeds, and, a little later, a pompous tune on the brasses no doubt stands for the young Phaeton himself. Four horns afterwards play a fine broad melody which is thought to be the dirge of the Sun over the boy's death. The music works up to a great pitch of excitement, and against a strenuous version of the Phaeton theme we can quite clearly hear the falling of the thunderbolt, and, at last, the lament.
THE work from which this
Waltz is taken was a ballet, based on the favourite fairy tale of the Princess asleep amid the well-nigh impenetrable thicket of briars. It was in a prologue and three Acts and Tchaikovsky composed the music for all these. This waltz has remained its most popular number; it is a particularly happy example of Tchaikovsky's facility in writing flowing and melodious dance tunes.
IN the course of his long and active career-he appeared first in public, as a pianist, at the age of five, and took part in a concert in honour of his own eightieth birthday—Saint-Saêns, founder and unchallenged leader of the modern French school of music, produced fine work in almost every know form. This, the third of his Concertos for Violin and Orchestra appeared in 1881, Sarasate playing it in Paris.
The first movement, in quick time, has two chief tunes, both of which are introduced by the solo instrument. The first, an impassioned melody, is in minor, and the second, which does not appear until the movement has run a good part of its course, is of happier character in the major mode.
The slow movement is tuneful and song-like throughout, and the soloiet has fine opportunities of displaying the singing qualities of his instrument.
The last movement is rich in themes; four are heard in the course of it. Brilliant passages for the solo violin introduce the first, a buoyant, happy, tune ; the second, calmer but with a hint of energy, follows soon, and the third, also played first by the soloist, presents a peaceful mood. Slowly and softly the strings introduce the fourth tune, a contemplative, devotional, melody, and on these is built up a movement of constant interest and charm.