MILLICENT RUSSELL (Contralto)
HUGHES MACKLIN (Tenor)
THE WIRELESS ORCHESTRA
Conducted by JOHN ANSELL
FROM a very early age Tchaikovsky was strongly attracted by Italian opera, and its melodious influence probably has a good deal to do with the fact that his music is in some ways less obviously Russian than that of his compatriots. He made more than one visit to Italy, and this piece, among the gayest and most care-free of all his music, was composed during a trip in 1880, most of which he spent in Rome. Writing from there to Madame von Meek, the good friend who enjoyed so much of his confidence, he says, ' I am working at an Italian Fantasia based on folk songs. Thanks to the charming themes, some of which I have taken from collections, and others which I have heard in the streets, this work will be effective.'
SAINT-SAENS' opera on the subject of Henry VIII centres round the King and Anne Boleyn. The Ballet, that inevitable feature of a French opera, is part of the wedding festivities, and in this concert arrangement consists of four movements. The first is called ' Entry of the Clans,' and is intended to have a Scottish character. It begins with a tune with something of a Scots lilt and there follows a march which oboes and trumpets play first, the whole orchestra taking it up later.
The second movement is also Scottish in character. Strings, with the woodwinds responding, begin it and then the oboe plays a tune meant to be reminiscent of the bagpipes, with the harp and violoncellos imitating the drone. There are two other tunes in the movement, one played first by the violins and the other, bringing the piece to an end, of a gayer, brisker nature.
The third movement is a vivacious gipsy dance.
The drum here is prominent with a rhythmic figure, and the boisterous dance tune is presented first by the violins and English horn.
Only in the last movement is there the suggestion of England which the name of the opera would lead one to expect. It is a Jig, violins and then woodwinds playing the merry tune. There is a middle section with a new melody for the woodwinds and another, quieter, for violins, and then the Suite comes to an end with a really exhilarating Finale.