EVELYN BRYAN (Soprano) WILLIAM EVANS (Baritone)
MINNIE HAMBLETT (Pianoforte)
Played by REGINALD FOORT
Relayed from the Regent Picture
Theatre, Bournemouth S.B. from Bournemouth
From Westminster Abbey
THIS is the first of eight Thursday readings of a shortened version of Swift's immortal' Gulliver's Travels.' The eight readings will complete the whole of this shortened version. Swift's amazing satire has suffered a strange handling. It was written as a fierce and biting satire upon the follies of mankind, and it has, for generations, been given as light reading to children of tender years. The truth is, of course, that in an expurgated version ' Gulliver's Travels' is equally good a story as it is a moral satire ; its pure objectivity guarantees that. This reading by Mr. Watkins, who is already familiar to listeners for his poetry readings, should serve to give us an unusually vivid conception of Swift's work.
BAND of the KING'S OWN YORKSHIRE LIGHT
INFANTRY
Conducted by C. E. RAISON ,
Relayed from the Central Bandstand,
North-East Coast Exhibition
S.B. from Newcastle
' The Queen's Sword,' from ' Mum-budget ' (Helen Simpson ), arranged as a dialogue story, with Incidental Music by THE GERSHOM PARKINGTON
QUINTET
Played by WINIFRED SMALL (Violin) and MAURICE COLE (Pianoforte)
Kreutzer Sonata , Op. 47
Adagio sostenuto-Presto
LEONARD GOWINGS (Tenor)
LEONARD HIRSCH (Violin)
THE WIRELESS MILITARY BAND
Conducted by VICTOR HELY-HUTCHINSON
The Tragic Overture was composed in the same year (1880) as the Academic Festival Overture.
Two chords from the whole orchestra introduce a typical Brahms theme in a steady tempo. In a slightly, changed form the opening is repeated, and then there is a short theme, four bars long, of which the third and fourth bars are the first and second turned upside down. After some development, there is a tune played first by oboes and then horns which trombones and tubas carry on. After that, the real second theme is heard for the first time. a more serene and happy tune, but soon the music grows more agitated and works up to a climax. There, we hear still another now theme before the earlier ones return to form the customary recapitulation. Towards the end there is a little fugato made of a bit of the first tune, and the Overture closes with a coda, also built up on it.
JACK PAYNE and THE B.B.C.
DANCE ORCHESTRA
