(Daventry only)
CECIL LUCAS (Contralto)
A DE SOUZA (Tenor)
Directed by GEORGES HAECK , from Restaurant
Frascati
IN today's talk Mr. Stobart and Miss Somervillo will discuss the work of the Romantics, who created a revolution in English poetry when it had fallen into the hands of the imitators of Dryden and Pope, and how far the term ' Romantic ' can fairly be applied, in the modern sense, to what they wrote. They will mention particularly two indubitably romantic narrative poems—Keats' ' The Eve of St. Agnes,' and Coleridge's lovely dream fantasy, ' Kubla Khan.
LAW and order provide us with security in which we can carry on our work and develop our interests, but the work of good government goes further than that. It provides, by means of education (elementary, secondary, university and technical), libraries, and so on, access to knowledge and instruction; and by supplying facilities of transport and communication, it makes it possible for its citizens to lead fuller and freer lives. All these points Captain Ellis will develop in his talk this afternoon.
GRACE ANGUS (Soprano) ; FRANK P. PROBYN (Horn); Julius ROSTALL (Violin);
HENRY BRONKHURST (Pianoforte) JULIUS ROSTALL and HENRY BRONKHURST
THIS work, the composer's Op. 40, is one of his rather rare essays in writing
Chamber Music pieces that include Wind instruments. He provided alternative 'Cello and Viola parts for this Trio, to be used when the Horn was not available, but the particularly rich. velvety tone of the Horn best suits the melodies Brahms has written.
-There are four Movements.
FIRST MOVEMENT. A rather slow one.
It opens with the First Main Tune, in two-time, given first to Violin and then to Horn.
The Second Main Tune (again introduced by the Violin) is much more animated, and is easily recognizable, as it is in three-time.
SECOND MOVEMENT. A Scherzo. The Piano races off with octaves in three-time. When the other instruments enter a moment later, it is with a bold phrase in two-time, the rhythmic contrast of which, whenever it appears, is one of the features of the Movement.
The Horn has a smooth Second Tune, and then the two ideas are fully developed and repeated, and so the first part of the Movement closes. Its middle section (' Trio ') is much gentler.
THIRD MOVEMENT. This is a beautifully expressive Slow Movement, largely of the nature of a conversation between Horn and Violin against a background of Piano tone, lovely both in subject matter, harmony and rhythmic variety.
FOURTH MOVEMENT. The Finale is a lively
Movement, though not without its deeper moments.
What do they Mean ?—A Programme of Dreams and Omens which will include ' Dream Dances ' (Coleridge-
Taylor), played by the OLOF SEXTET
' The Sacred Chickens,' a whimsical story by HUGH CHESTERMAN
' Jonathan meets Julius Cæsar,' a small boy's dream, by J. C. STOBART
BESIDES being in some sense a Parliament of the Nations, the League is rapidly making Geneva an international clearing-house for economic facts and ideas, and Mr. Layton, who is director of its financial and economic sections, is in a position to know a great deal about the problem of world prosperity. He is one of the leading economic authorities in the country, being editor of The Economist, and he has great practical experience as a director of one of the big insurance companies.
ELIZABETHAN KEYBOARD MUSIC
Played by ANGUS MORRISON (Pianoforte)
EVERYBODY knows that a powerful heart and sound lungs are necessary for success in any branch of athletics that requires staying power, but the deeper implications of the oxygen supply go far beyond that. In this talk Professor Hill will explain the mysteries of ' oxygen income,' the record for which is at present held by an American oarsman, with a miler as runner-up. *
PHILIP MIDDLEMISS (Entertainer)
HENRY LEONI (Tenor)
ELLEN POLLOCK (Character Studies)
An Opera in Three Acts by Mehul
Libretto by Duval
English Version by Mrs. Fanny Copeland
Cast: and The Wireless Chorus
(Chorus Master, Stanford Robinson)
The Wireless Symphony Orchestra
(Leader, S. Kneale Kelley)
Conducted by Percy Pitt
(For the story of the Opera, etc., see page 493.)
(Daventry only)
