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(From Birmingham)
THE BIRMINGHAM STUDIO ORCHESTRA
Conducted by FRANK CANTELL
HORACE PRIESTLEY (Tenor)
DORIS VEVERS (Violoncello)
ALTHOUGH only the overture of this melodious opera now survives, there was one other number which used often to be heard long after the opera itself had faded into neglect.
In his later work, The Barber of Seville, one of the merriest scenes is where the Count makes his way into old Bartolo's house, so that he may have speech with his beloved, by pretending to be a singing master. He has bribed the real professor to pretend that he is sick, and to let him go in his place. The singing lesson which he is allowed to give to the lady is always made the excuse for a joyous burlesque, but the prima donna, taking the part of Rosina, seizes the chance of firing off some really brilliant specimen of her art. And for many years it was faithfully observed as a tradition that a florid air from Tancredi should be sung then.
The opera was the first of Rossini's 'in the grand manner' as it was called; it appeared in 1813, and before that he had produced only slight pieces more like operettas.
GIUSEPPE TARTINI , whose life and achievements are one of the milestones in the history of violin playing, was one of the many musicians who were intended for other careers. His father, wealthy and ennobled, wished him to enter the priesthood, a career which had no attraction at all for the ardent and vivacious youth. Instead he obtained permission to study law, though all we know of his legal studies is that he became proficient in the two arts of fencing and violin playing. The former appears to have been so much the more lucrative that he thought of adopting it as a means of livelihood, while music would remain a diversion. His life was full of vicissitudes, and probably the tale of the composition of his famous 'Devil's Trill' is the best-known incident in it.
He dreamed, so we are told, that he made a bargain with the Devil for his soul. Everything went as he would have it, and the idea occurred to him to hand his violin to his new servant. To his intense astonishment the Devil played with consummate skill and energy, and with such beauty as surpassed the boldest flights of his imagination. Seizing his violin when he awoke, he tried in vain to recapture the music he had heard, but the piece which he then Composed, 'The Devil's Sonata' - although the most famous that he left, was, according to himself, far below the one he heard in his dream.

Contributors

Conducted By:
Frank Cantell
Tenor:
Horace Priestley
Tenor:
Doris Vevers
Unknown:
Giuseppe Tartini

5GB Daventry (Experimental)

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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