(Daventry only)

(Daventry only) and NORMAN ASKEW (Pianoforte)

Relayed from Westminster Abbey

ASTORIA CINEMA

by PATTMAN

(Kreisler) and other Violin Solos, played by David Wisp. 'The Truce of the Tree Tops' (H. Mortimer Batten ). Reforming Zoo Criminals ' -a Zoo Talk by Leslie G. Mainland

(Continued)

Selections by the winners of the 3rd Scouts' Musical Competition

BEETHOVEN'S SONGS
Sung by GEORGE PARKER (Baritone)

THE jargon of psychology very rapidly spread from the text-books through the novels into the vocabulary of ordinary people, and there is hardly anybody now who cannot talk learnedly of his complexes and inhibitions and repressions and what not. More slowly, a little knowledge of the subject is filtering down-a process that Mr. WiUis (who is, by the way, Educational Secretary of the Y.M.C.A.) will do something to accelerate in his talk today.

Relayed from the Queen's Hall
The Royal Philharmonic Orchestra
Conducted by Ernest Ansermet
York Bowen (Pianoforte)
Chorus from the Royal Academy of Music Orchestra.
Why it was never finished, nobody knows, for the composer lived six years after completing the two Movements we know. A third was begun, but left incomplete. In these two Movements musicians have one of their greatest treasures. Next to Beethoven's Fifth Symphony, Schubert's Unfinished is probably the most popular symphony in the world.
The Movements are as follows:-
First movement (Moderately quick). After a few bars of mysterious introductory music, for 'Cellos and Double Basses alone, the First Main Tune enters, a rapid one for Strings, with, soon after, a mournful strain added, above, by Oboe and Clarinet together.
After a time, we come to a few bars of link, for Horns and Bassoons, and then the 'Cellos bring in the cheerful Second Main Tune.
Second movement (Gently moving along-neither fast nor slow). This is one of the most serene pieces ever written. After two bars of Introduction for Horns and Bassoon, with Double Busses (plucked) beneath them, we reach the First Main Tune, flowing beautifully off the bows of the Violins. After a time, there comes a little link, this time for Violin alone, and then the Second Main Tune, a slow one for Clarinet, with delicate syncopation in the Strings beneath.
(Solo Pianoforte, York Bowen)
(First Performance)
The composer's description of the work as 'for orchestra with pianoforte (quasi obligato)' indicates that although the Pianoforte part is prominent (and practically continuous). the instrument is not used as in the normal Concerto as a protagonist, but as an integral part of the whole structure of the work.
There are three Movements.
The First Movement opens with a slow, dignified Introduction, leading to a spirited quick section. The Pianoforte has the chief theme, various subsidiary ones being also heard. The next section is in rather slower time, and in a quite different mood. Hero the Violas have the tune, which is repeated with embellishments. Then we return to the former speed. The development and recapitulation of the material proceeds, with just a slight reference to the theme of the rather slower section, and a short Coda brings the Movement to a rather abrupt close.
The Second Movement, at a comfortable, slowish pace, is simply constructed. The chief theme has a rather unusual rhythmic plan. It is in four-time, the eight half-beats of each bar being divided into two groups of three and one of two. There is a contrasting tune, and the Movement concludes with a Coda in which the first tune is played simultaneously with the second.
The Third Movement (Very quick) opens with a vigorous theme and goes on a normal course of development. The slow, dignified theme from the Introduction of the First Movement reappears on the full Orchestra, several other themes from the first two Movements are heard in combination, and the work ends very softly.
One or two of Mr. Walton's works have already been broadcast, notably his Overture Portsmouth Point. This young composer (he was born in 1902) has also written a String Quartet, which was chosen for performance at the International Festival of Contemporary Music at Salzburg in 1923, and a Pianoforte Quartet, which obtained one of the Carnegie Trust awards.

(Continued)
(First performance in England of the complete work)
DAPHNIS AND CHLOE was written as a choreographic symphony ' in three parts, with chorus, for Diaghilev's Russian Ballet. From the music, the composer arranged two Suites, which have been heard in the concert-room. The plot deals with some incidents in the story of the two young lovers of mythology, one of whom is carried off by pirates and rescued by Pan.
The plot begins with the gathering before the altar of young girls and lads, among whom come Daphnis and Chloe. These two do not yet realize their love, and each feels some jealousy at the other's mingling with the youths. Daphnis has a rival, Dorcan, a country fellow. The two dance in contest, and Chloe shows her preference for Daphnis.
Then pirates rush upon the scene, and Daphnis runs to aid Chloe, who, however, is carried off by the invaders. Daphnis returns, to find only her sandal. The statues of nymphs come to life, and seek the aid of Pan to rescue Chloe.
The next scene is in the pirates' camp, where Chloe is a prisoner. She begs for freedom, and is wooed by the chief of the band. There is a war dance. Then Pan appears in a cloud and snatches away Chloe. (These are all the scenes to which the First Suite made from the Ballet Music belongs. Its numbers are entitled Nocturne, Interlude, and Warriors' Dance. The Second Suite, containing three pieces,entitled Daybreak, Pantomime, and General Dance, deals with the incidents noted below.)
There is a musical picture of dawn, with its bird songs, and the awakening of the world. In this scene in the Ballet Chloe is restored to Daphnis. An old shepherd explains that Pan rescued the maiden in remembrance of the nymph Syrinx, whom he (Pan) loved.
Then the reunited lovers mime the story of Pan and Syrinx. Daphnis, pretending to be Pan, wooes Chloe, who impersonates Syrinx. She repulses the god, and lie is sad. He fashions a flute from a reed, and plays a melancholy tune. The maiden comes out and mimes in a dance the music of the flute. The dance becomes more lively, and she falls into the lover's arms. Before an altar he swears his fidelity. Bacchantes enter, with tambourines. Daphnis and Chloe embrace. A group of youths arrives, and here begins the last part, the General Dance.

Teeth'
THE spoken essay is a new form that broadcasting is fast developing, and any listeners who are in danger of imagining that this is an instructional talk under the auspices of the Association for the Propagation of Better and Brighter Teeth by Means of the Higher Thought will be relieved to know that it belongs to the former category, and its title bears no very real relation to its subject-matter. Mr. Keown, who gives the talk, is a young journalist.

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