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In the thirteenth century, whilst St. Francis of Assisi was still alive, the first friars of the Order that he founded came to England teaching, preaching and ministering to the poor. St. Francis was one of the most attractive of the mediteyal saints, and the- Franciscans were great spreaders of learning and sincere friends of the people. In this talk we shall hear of them' as teachers and preachers, and of their founder and his wonderful life.

THE story that will be re-told today is one that has given its name to all stories of wandering and adventure ever since Homer's 0 lyssey, which tells of the strange happenings that befell the craftiest of the Greeks on his ten-years' journey back to his island kingdom of Ithaca after the fall of Troy.

Conducted by B. WALTON O'DONNELL
CUTHBERT SMITH (Baritone)
A DUTCH sailor-captain swears he will sail
A round the Cape, in the teeth of gales, even though he should sail till Doomsday. The Devil takes him at his word, and he is condemned to sail until'(iii Wagner's version) he finds a woman willing to share his unending travels. After many years, he finds such a self-sacrificing woman, but wishing, in his love for her, to save her from a doom such as his, he leaves her. She," however, throws herself into the water to join him ; the spell is broken by her renunciation, and in death they find rest together.
The Overture is practically an epitome of the Opera. A dominating motive is that of the Curse, heard in a strenuous call against a quivering, stormy background. There is a contrasting, prayer-like tune, and also a gay sailor-song. These are all repeated with increasing force towards the end.
IN ]880 Tchaikovsky paid a visit to Italy, and was pleased with the popular tunes he heard people singing there. Some of them he worked up into this ' Fantasia ' (as he called it).
The opening military ''call' is a reminiscence of the music the Composer heard when he stayed near a barracks in Rome. Then various folk-songs are brought in. The last section of this work is in the style of the lively Tarantella dance.

Contributors

Conducted By:
B. Walton O'Donnell
Baritone:
Cuthbert Smith

ELSIE SUDDABY (Soprano).
THE BUDAPEST Trio :
NICOLAS ROTH (Violin) ; GEORGE ROTH ('Cello) ;
ANDREAS PETRl (Pianoforte)
THE fourth of Beethoven's Trios for Piano,
Violin, and 'Cello was written in the country, the same summer (1808) in which he finished his great Fifth Symphony, the Pastoral Symphony,
' and the Choral Fantasia. He was thirty-seven years old, and his virile forcefulness and high spirits were at their highest. He had attained full mastery of expression, and the music he was then writing has tremendous directness.
This Fourth Trio, and one other, together form his Opus 70. The Fourth is written in three. separate Movements.

Contributors

Violin:
Nicolas Roth
Violin:
George Roth
Pianoforte:
Andreas Petrl

2LO London and 5XX Daventry

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About this data

This data is drawn from the Radio Times magazine between 1923 and 2009. It shows what was scheduled to be broadcast, meaning it was subject to change and may not be accurate. More