From Birmingham
THE BIRMINGHAM STUDIO AUGMENTED ORCHESTRA, conducted by JOSEPH LEWIS
IN 1830, the tercentenary year of the Augsburg Protestant Confession, it was proposed to hold a general celebration throughout the Protestant States of Germany. The scheme was dropped, after Mendelssohn had specially written this Symphony as a contribution to it.
Written for a church celebration, the Symphony makes many a quotation of church music. The opening notes are a medieval melody which was used by Bach and Mozart. Later in the introductory section occurs another ancient melody. stridently sounded, and this is immediately followed by the 'Dresden Amen' (which Wagner also adopted as one of the principal themes in his Parsifal). This opening section of the music may be said to stand for the older church.
To this follows an outburst of quick music that seems to suggest anger.
The next Movement is lyrical, with a hint of pastoral delight. It is cast in the common form and three-beat rhythm of 'Scherzo and Trio.'
A pathetic little tune, in a minor key, opens the next Movement. Presently the famous Lutheran hymn Ein feste Burg ('A safe strong-hold') enters, the herald of the Reformation. At first it is played by a single Flute ; other instruments join in at the second line, and the rest of the Orchestra enters during the remaining lines.
The next section is a Variation on the hymn tune.
The last Movement is built largely of massive music, into which the Lutheran hymn is woven towards the end, its last lines being given out, at the close, with full power.
FOR the Cardiff Musical Festival of 1904 Edward German wrote this Rhapsody upon Welsh airs. It is woven without seam, but has four pretty definite sections, a little like those of a Symphony, and each of them grows out of . some famous old Welsh melody or melodies.
The FIRST (a stately one) is based on 'Loudly Proclaim.'
The SECOND (a skittish one) is made out of 'Hunting the Hare' and 'The Bells of Aberdovey.'
The THIRD (a tender one) brings in 'David of the White Rock.'
The FOURTH (a march-like Finale) uses the famous 'Men of Harlech.'

S.B. from Leeds

THE BELLS

THE LONDON WIND QUINTET: ROBERT MURCHIE
(Flute), LEON GOOSSENS (Oboe), HAYDN DRAPER
(Clarinet) ; FRED WOOD (Bassoon), AUBREY
BRAIN (Horn)
AKSAROVA (Soprano)
BELA BARTOK (Pianoforte)
BELA BARTOK. LEON GOOSSENS , HAYDN DRAPER ,
FRED WOOD and AUBREY BRAIN
Slow, passing to Moderately Quick ; Rather Slow and Broad ; Rondo
FOR Mozart's concerts in Vienna he composed a good many works, of which this Quintet was one.
The concerts in Lent, 1784, were a great success, and were useful in making Mozart known and getting him pupils,
Of the Quintet (K. 452) he then said, 'I consider it the best thing I ever wrote in my life.' Certainly its three Movements (the First is preceded by a short prelude in slow time) are full of the happiest music, written with great skill to give each instrument a characteristic, effective and interesting part.
10.25 BELA BARTOK
Playing a. Group of his own Compositions :
Evening in the Country ; Bear Dance ; Allegro Barbare (Quidk and Wild); Second Burlesque ; First Roumanian Dance

From Birmingham