Relayed from the National Museum of Wales

National Orchestra of Wales
(Cerddorfa Genedlaethol Cymru)

Cherubini, born in Florence in 1760, lived to the great age of 82. In the important development which music underwent in those long years, he had himself a large share; the church and theatre music of France in particular, to which he devoted most of his mature work, owe him more than it would be easy to assess. For the most part grave and serious, his music displays a breadth and vigour not unlike the great Beethoven's; it is all sincere and dignified, even in its more light-hearted moods.
The opera, Ali Baba, though not completed till 1833, when the composer was 73, is actually a revised version of an early work - Koukourgi - written forty years earlier; it shows many traces of the frankly melodious Italian opera of the late eighteenth century.
The overture begins in quick time with a simple, vigorous time, which is twice interrupted by a little running figure on the violins. After a silent pause, a flowing melody is heard, which gives place soon to a sprightly tune in merry mood; on these the first part of the overture is built up, alternating between energy and daintiness with a hint of mischief in it. The end is in very quick time, beginning softly with a tune in short, crisp notes, and rising to a strong, robust climax.

(to 14.00)

Professor E. Ernest Hughes

The Station Trio
Frank Thomas (Violin); Ronald Harding (Violoncello); Hubert Pengelly (Pianoforte)

Trio in E Flat
1st Movement; Schorzo and Rondo

Nobody can be quite sure where, and when the Bourree had its origin. Some authorities give France as its birthplace, and others think it came from the Biscay province of Spain, where, we are told, it is still danced. As early as 1590 it is known to have been introduced into Paris, but the French composers did not adopt it with the same willingness as those of other countries. There are many examples of it in the music of Bach and Handel-for harpsichord or other solo instruments or in orchestral Suites. And both these old masters give it something of dignity as well. as the sturdy good spirits which belong to it by right.
It is a common-time dance, rather like the Gavotte in its four-square v gour and robustness, but it can easily be distinguished from a Gavotte in this way. It always begins with the last beat of the bar, while the Gavotte should begin with the third beat, that is half a bar.
It is always in two sections, each meant to be repeated, and in Bach's and Handel's music is very often followed by a second Bourree, likewise in two sections, each repeated, after which the first one is played again, now without repeats. The form is thus rather like the traditional Minuet or Scherzo with Trio.

(Under the auspices of the Department of Overseas Trade).
S.B. from Liverpool

arranged by W. Irving Gass, Founder of the Society of Somerset Folk (Bristol
Branch)
Relayed from the Clifton Arts Club, Bristol
Artists of The Society of Somerset Folk: Kathleen Beer (Soprano); B. J. Beilby (Violoncello); Dan'l Grainger (Dialect Recitals); W. Irving Gass (Dialect Songs)
and Scissors for Luck
by Dorothy Howard Rowlands
[Starring] The Bristol Drama Club
Characters:
Bess Harvey, Bill Hallett, Letty Harvey, Joshua Harvey

(to 23.00)