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DOROTHY SMITHARD (Contralto)
HARRY BRINDLE (Tenor)
REGINALD KING and his ORCHESTRA

There can be but few pianists, however modest their attainments, who have not played some at least of Grieg's many lyric pieces for the pianoforte. They must be at least as well known as Mendelssohn's Songs without Words were to our grand-parents, and they have certainly had a very large share in making Grieg's name the household word which it is.
Towards the end of last century it occurred to the great conductor, Anton Seidl, that some of them were admirably adapted for orchestral arrangement, as indeed they are; he accordingly arranged four, scoring them effectively for a big orchestra. Grieg himself approved of the idea, though the actual orchestration struck him as a little too heavy for the light nature of the pieces, and he accordingly re-arranged the second, third, and fourth numbers himself in a simpler way, and substituted the 'Shepherd Boy' for the first which Seidi had chosen. He scored it for strings and harp only.

A LUMBER camp in the forests of New England is a place where a varied collection of tough types from all the nations of Europe put in protracted spells of intensely hard work varied by fights in which the loser runs the risk of having his face kicked in with longspiked boots. Polacks, Hunkies, a sprinkling of Dagoes, and an occasional Wop, work immensely hard for six months at a time, then put their pay in their pocket, make for the nearest town, and blue it on bad hootch inside a couple of weeks. It was into a lumber camp of this kind that 'Greenhorn' landed on the occasion that he will describe in his talk tonight

5XX Daventry

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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