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5XX Daventry
on 5XX Daventry

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IN a broad majestic rhythm Respighi's song tells of mourning. Mists rise slowly across the moorland and ravens fly sadly over it. The bare branches of trees face the biting winds of winter, praying. Lonely and cold, the singer hears across tho cold grey heavens a sigh of his lost beloved and a voice that calls ' Come! '
'BELLA PORTA DI RUBINI ' is one of five songs in the style of an older day, very unlike the brilliant orchestral music of Respighi's symphonic poems. With all the simplicity of a folk song, it is in two short stanzas, sung to the same melody with the slightest of accompaniments. It is a little love song in which the singer speaks of his beloved's lips as a ' Fair gate of rubies.'

Russian Love Song - Lardelli
Nobbie (Mists) - Bespighi
Bella Porta di rubini (Fair gate of rubies) - Bespighi
Calm as the Night - Bohm
Hindoo Song - Bemberg

Source: Radio Times
5XX Daventry
on 5XX Daventry

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THERE are some of us who prefer our walks to have a purpose, or even an objective ; others of us simply, walk. For the former, if they should live in the Southern counties, what more attractive hike can there be than to trace (no difficult matter) the most interesting part of the Pilgrims' Way-any, from Kemsing or Otford, to Rochester— an easy walk. The Way runs along the south side of the Downs, sheltered from the north winds and overlooking the rich fields and quiet villages of Kent. Hpro it was that, in other days, the bands of pilgrims journeyed on the way to the Shrine of St. Thomas a Becket at Canterbury; here, Chaucer's own inimitable company set out in the spring ' when longcn folk to goon on pilgrimages.' If you are romantically minded, you will not find it difficult to imagine today, as you walk the Way, the silent ghosts of that once noisy band. This Pilgrims' Way and other old roads will be dealt with by Mr. A. L. Simpson in his talk : lie is, of course, the familiar ' Path
finder.'

Source: Radio Times
5XX Daventry
on 5XX Daventry

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At the Piano, ROLAND REVELL
How successfully the great Bach makes use of the innocent tone of the flute is by now known to all wireless listeners. In his hands it can be eithor plaintive, devotional, or frankly light-hearted at will. In many of the church cantatas, for instance, and in his bigger devotional works, it has a big share in expressing the simple faith which his music knows so well how to set forth.
But in his more mirthful music it has no less happy a share. We have two sets of three sonatas each, for flute and pianoforte, the first three on a rather more elaborate scale than the others-laid out with something of the importance of concertos. The other three, of which this is one, are more nearly akin to the suites, with movements in the dance rhythms of that age. The one in E Minor begins with a slow movement, ratner grave ana meditative in character, although it more than once rises to a climax of tone and finishes with emphatic strength. The second hurries along at great speed and with an irresistible freshness, so that one feels, as so often with Bach, that there was no reason at all why it should como to an end so soon as it docs. It by no means suggests that Bach had exhausted the possibilities of the merry running melody which goes all through it.

Source: Radio Times

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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