THE WIRELESS ORCHESTRA
Conducted by STANFORD ROBINSON
ALICE Moxon (Soprano)
THE WIRELESS SINGERS
Just as at morning our thoughts are of the future as we set our faces to the new day, so at the hour of nightfall, with another day laid away on the shelf of the past, there steals upon us the spirit of remembrance. For, delightful though the present may be, the past and the future are the subject of our inner dreams. The 'Vesper' programmes, of which this is the second, are planned to fall in with this mood of sad-siveet recollection.
ROSSINI'S The Italian in Algiers, is nowadays represented only by its Overture, though when it came out (at Venice, in 1813) it seemed likely to have a long life, for it was full of the gayest, catchiest tunes, cleverly orchestrated.
The Overture opens with a slow Introduction, and then goes on its sprightly course with unquenchable vitality, making good use of that favourite Rossinian device of crescendo (a gradual, exciting increase of tone) that brought the . Composer some satirical comment and the name of ' 'Signor Crescendo ' when, later, he went to Paris.
FEW Composers have expressed the nature and life of their native country so completely as Sibelius, who shows forth the spirit of Finland.
The piece named after his country is built up out of short motifs which are set off against each other, rather than fully developed.
After a few impressive chords, the religious-sounding First Tune is given out.
A quicker, dance-like section follows and is succeeded by a warlike theme.
A sad melody (not an actual folk-tune, though it sounds like one) is now heard, and the piece is soon rounded off by a Coda based on one of its early motifs.