Elise Granados at the BBC theatre organ
and forecast for farmers and shipping
and his Tipica Orchestra
' Christian Obedience '
Reading from St. Luke 12 and St. Matthew 25
and forecast for farmers and shipping
Talk by a doctor
Alexander Carmichael (baritone)
Anne Warden (violin)
'Snakes Alive ! '
HAYDN
Records of his piano music and songs
Paraphrase 48. vv. 5-8
New Every Morning, page 99 Psalm 91 (Broadcast Psalter) Wisdom 12. vv. 12-19
Brief life is here our portion (A. and M. 225; S.P. 459)
Jimmy Leach and the New Organolians
Music of the sunny south played by the Southern Serenade Orchestra
Directed by Lou Whiteson
played by The Oscar Lampe Trio:
Oscar Lampe (violin)
Frederick Alexander (cello)
Hubert Dawlces (piano)
(Vic Oliver is appearing in Latin Quarter' at the Casino Theatre, London)
from a canteen in Portadown, Co. Armagh
with Billy 'Uke' Scott, Delya, Forsythe and Seamon
James Moody at the piano
and forecast for farmers and shipping
An adaptation in eight parts by Winifred Carey of ' The Thirty-Nine Steps ' and ' Mr. Standfast' by John Buchan
5—' Hannay gets down to work '
Eddie Carroll at the piano
Lunchtime scoreboard
BBC Opera Orchestra
(Leader, John Sharpe )
Conducted by Leo Wurmser
An evocation of the Cotswolds.
A musical entertainment given by Edric Connor with Troise and his Banjoliers
and forecast for farmers and shipping
Geoffrey and Celia Rowley
Harry Dawson
Bob Monkhouse
Stanley Black and the Augmented Dance Orchestra
Introduced by Felix Decbank
Produced by Dennis Main Wilson
Moura Lympany (piano)
London Philharmonic Orchestra
(Leader. David Wise)
Conducted by Basil Cameron
Beethoven
Overture: Fidelio
7.39 app. Piano Concerto No. 4, in G
8.14 app Symphony No. 6. in F
(Pastoral)
From the Royal Albert Hall, London
In his third piano concerto Beethoven had extended the Mozartian model to its utmost limit. Five years elapsed before he wrote a further piano concerto, and during that period he had composed his second and third symphonies. It was almost inevitable, therefore, that the new work should reflect this revolution in Beethoven's symphonic style, and from the very opening bars, unconventionally given to the soloist, a new, maturer Beethoven emerges. The dialogue between orchestra and soloist in the slow movement is also a completely new and individual idea, and Liszt once compared it to ' Orpheus taming the wild beasts with his music.' The finale, a rondo, follows without a pause, and its vivacious theme tends to conceal the fact that this movement, like the opening one, is built on a spacious scale and filled with a wealth of ideas and technical resource.
Beethoven wrote of his Pastoral symphony that it was not to be considered as descriptive music, but ' more an expression of feeling than of painting.'
It is, in fact, the quintessence of a series of moods evoked by joy on arrival in the country, the tranquillity of a purling brook, the merrymaking of peasants at an inn, a thunderstorm, and thanksgiving for the return of peaceful sunshine.
As is so characteristic of his later works, the first three bars of the Pastoral Symphony contain the germ of practically the whole opening movement. Each bar has its individual rhythmic shape, and each of these rhythmic fragments plays an important part in future developments, building up the music in physical exuberance, until at the close the opening phrase ' floats upward into the air as lazily and as imperturbab!y as a cloud.'
Julian Herbage
(British Racing Motor)
Written by Peter Watson
Produced by W. Farquharson Small
