KATE WINTER (Soprano)
OWEN BRYNGWYN (Baritone)
THE WIRELESS MILITARY BAND
Conducted by B. WALTON O'DONNELL
ONLY the Overture of Semiramide now survives. It is interesting, however, to recall that the opera itself made something of a success at the King's Theatre, London, in 1824, after being a somewhat discouraging failure on its original production at Venice the year before.
The Overture begins with a vigorous measure where brass and woodwind combine, over a continued roll on the drums, to build up a thrilling climax. Then there comes a more slowly moving section, based on a duet which is sung in the opera by the heroine Semiramis. Empress of Nineveh, and Arsaees, the leader of her armies and, though she does not know it, her son. This slower section is followed by another Allegro, which brings the work to an end with all Rossini's usual brilliance and energy. 3.44 KATE WINTER.
COLERIDGE - TAYLOR'S enthusiasm for the story of Hiawatha is probably the best-known thing about him. He composed, as listeners know, settings for solo voices, choir, and orchestra, of three different parts of Longfellow's poem. This Suite, although inspired by the same subject, is not music taken from these choral works. It was originally devised as a separate ballet, and dates from the year 1912. The five numbers in the Suite are called, respectively :—
1. The Wooing.
2. The Marriage Feast. 3. (a) A Bird Scene.
(b) Conjuror's Dance.
4. The Departure. 5. The Re-union. 1.14 OWEN BRYNGWYN

'The Hound of Heaven,' by Francis Thompson

The ÆOLIAN PLAYERS: JOSEPH SLATER (Flute) ; REBECCA CLARKE (Viola); ANTONIO BROSA
(Violin); GORDON BRYAN (Pianoforte)
Trio for Flute, Violin, and Pianoforte
Carl Stamitz (1746-1801)
Moderato; Andante moderato; Rondo
(First performance in England)
Largo ; Allegro; Adagio : Vivace
BQRN in Venice in 1667, Lotti produced his first opera there before he was sixteen.
Much of his life was spent in the service of the Church as organist and choirmaster, and he composed both sacred and secular music. He is held in hish esteem by musicians as the last representa tivo of the old formal school of church music, though in his own day he was counted as a 'modern,' for the freedom and grace of his harmony. Our English Dr. Burney, on his travels in Italy, was so touched by the beauty of Lotti's, choral music that, so he has told us, he was moved to tears.
On one occasion the Crown Prince of Saxony heard him in Venice, and invited him to the Court of Dresden, where he accordingly made a short stav, producing operatic music there. At the end of his leave of absence from Venice he made the return journey in a coach for which he always afterwards had a warm affection, bequeathing it to his widow when he died.

S.B. from Manchester

Relayed from the Queen's
Hall, London
(Sole Lessees, Messrs. Chappell and Co. Ltd.)
' Requiem '
(Verdi)
For Four Solo Voices, Chorus and Orchestra
MIRIAM LICETTE (Soprano)
MURIEL BRUNSKILL (Contralto)
WALTER WIDDOP (Tenor)
HAROLD WILLIAMS (Baritono)
THE NATIONAL CHORUS
(Chorus-master, STANFORD ROBINSON)
THE B.B.C. SYMPHONY ORCHESTRA
(Leaders, S. KNEALE KELLEY and WYNN REEVES)
Conducted by GINO MARINUZZI
(Of the Royal Opera, Rome; Teatro Colon,
Buenos Aires, etc.)
PART I
Requiem e Kyrie Dies irae Offertorio

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PART 11
Sanctus
Agnus Dei
Lux aeterna l.iocra me*