Sonata in E - Brahms
by Eric BROUGH , Organist and Director of the Choir,
Lcwisham Congregational Church
Relayed from St. Mary-le-Bow Church
THE DRAMA
The fourth of a series of six Plays interpreted by REPRESENTATIVE RADIO PLAYERS
' THE TEMPEST '
Gnomes and Pixies
The Fairy Music from 'Pixie Led,' sung by Female Quartet with Celeste accompaniment.
The Story of 'Bumble's Banquet' (Mabel Marlowe).
'The Gorobobble, the Oop-Oop, and other Bogey Beasts' (S.H. Sime)
BACH'S ' 'THE ART OF FUGUE'
Played by JAMES CHING
Fugues Ten and Eleven
THE Tenth Fugue opens with a new theme, thus:— which bears a resemblance to a portion of the original tune. That basic theme only comes in (in the Treble) after the first theme has been dealt with. We hear the first theme again in the course cf the Fugue, which is of somewhat quieter character than the boldly springing No. 9.
The Eleventh Fugue begins with a varied form of the original theme, with the gaps filled up. but with broken rhythm (rests between each of the first three pairs of notes)!
When this has been treated, there are a few bars of treble music, and then, in the Tenor, enters the tune with which the Eighth Fugue opened ; but now it is upside down. Later on. the excited little tune referred to as entering second in that Fugue appears again. also inverted—now scrambling up (in the Tenor) instead of trotting down.
Thus, Fugue 11 deals with the same material as did No. 8, though it is all turned upside down, and four voices are usej instead of three.
THIS talk opens a series of six in which Mr.
St. John Ervine will discuss 'The Modern
Drama '—a subject on which he is one of the best-known controversialists of the day. His weekly articles in The Observer never fail to challenge at least one section of opinion, and he will be remembered particularly for his recent campaign against the ' refined ' accent, conducted with all his accustomed virulence and fire. Besides being a practised critic, he has much personal experience of the modern theatre.
THE NATIONAL SYMPHONY ORCHESTRA
Conducted by Sir LANDON RONALD
SOLOMON (Pianoforte)
Relayed from the People's Palace, Mile End Road
(Continued)
THE Fifth Symphony is so often performed that its outlines are becoming very familiar. It will suffice to remind listeners that a ' Motto ' theme, of sombre character in most of its appearances, is heard in each of the Movements.
FIRST MOVEMENT. An Introduction (Moving gently) gives out the 'Motto' Tune (Clarinet, with Strings accompanying). After thirty-two bars comes the FIRST MOVEMENT proper. (Quick, spirited).
Clarinet and Bassoon have the First Main Tune. Strings and Woodwind continue the mood. The Second Main Tune comes in on the Strings, in gentler manner, with a touch of syncopation in it : a pleading theme, one might say. This material is dealt with at no great length. and the ' Recapitulation ' of the Theme comes in the usual way, the Movement dying away.
SECOND MOVEMENT. (Gently moving, in a singing style). The Lower Strings have sustained chords, over which Horn gives out the flowing First Main Tune. An Oboe has a continuation of this, in rather brighter mood. The Strings' opening of the Second Main Time echoes a four-note figure of the Oboe, and continues with new material. With a change of time from the swaying three-to-a-beat of the opening, a Clarinet Third Tune enters. Soon the Motto Tune pushes its way in, giving way quickly to the earlier Themes, which are reviewed, the Movement ending peacefully.
THIRD MOVEMENT. (Waltz. Moderately quick). Violins have the First Main Tune, Bassoons a Second Tune. The Trio, or middle section of the Waltz, has a dancing Violin Theme, in rapidly-running short notes. After the usual repetition of the matter in the beginning of the Movement, the Motto Tune is impressed upon us. even in the midst of gaiety, by Clarinets and Bassoon.
FOURTH MOVEMENT. (Introduction. Moving with dignity). The Motto is transformed into a cheerful, solid, major-key Tune through this longish Introduction, which leads straight into the quick, vivacious
LAST MOVEMENT proper. Its First Main Tune has a connection with the Motto, in the scale passage, descending, that we heard repeated in the latter. The Oboe has a leaping subsidiary portion, and the Second Main Tune comes on Oboe and Flute. After much sonorous treatment of these Themes, with quick changes of mood for a moment or two, we meet the Motto Tune for the last time, in the summing-up, in the most majestic spirit.
' THE PHOTOGRAPH '
(Picture on page 333.)
The RIVIERA CLUB DANCE BAND, under the direction of HARRY JOSEPHS, from the Riviera Club
