Relayed from ST. CLEMENT DANES
Order of Service :
Hymn. Praise to the Lord Almighty, the King of Creation (English Hymnal. No. 536)
The Bidding Prayer and Lord's Prayer
Address by the Right Rev. The LORD BISHOP OF CHELMSFORD, D.D.
Hymn, Now thank wo all our God (English Hymnal, Xo. 533)
Pickwick Readings— I,
' Pickwick and Friends at Dingley Doll before
Christmas'
Directed by JOSEPH MUSCANT
From THE COMMODORE THEATRE, HAMMERSMITH
From The Dorchester Hotel
MUSIC FOR TWO PIANOFORTES
Played by CARL WEBER and MAUD DIXON
CARL WEBER , one of the pianoforte professors at the Royal Academy of Music in London, and Maud Dixon , a distinguished former student, wero the first artists to broadcast music for two pianofortes ; they were, indeed, among the very earliest broadcasters, in the days when the B.B.C. was only at the outset of its career.
Mr.
DESMOND MACCARTHY
7.10-7.25 Mr. RALPH DUNSTAN , Mus.Doc.
:
' Typical Cornish Curls,' with Illustrations by a select Choir from Mutley Wesleyan Church, Plymouth, accompanied by Mr. CECIL G. PALMER , Organist and Choirmaster 1. The Christmas Chanters
2. Glad Tidings
3. While Shepherds
4. Shepherds, rejoice ! 5. New Park
6. Arise and hail the glorious Star
(From Plymouth)
by Guy WEITZ
From ST. MARGARET'S, WESTMINSTER
A Nativity Play in Three Scenes by BERNARD WALKE
Relayed from THE PARISH CHURCH of ST. HILARY, CORNWALL
WEATHER FORECAST. SECOND GENERAL NEWS NULLETIN
HERBERT HEYNER (Baritone)
THE BROSA STRING QUARTET
(BROSA-POUGNET-WISE-PINI)
ALTHOUGH in six movements, this big work is meant to be played without a break. It is very unusual in design, and neither Beethoven nor any later composer ever made one again of a similar pattern. The first movement is actually a fugue, at moderate speed, dignified and impressive. The following allegro is almost like a harking back to the older suites, in its shape, and then we come to a typically Beethoven movement, a splendid song-like theme with seven variations. It is wound up by a return to the theme and some elaboration of it. The next movement, too, is such as Beethoven has often given us elsewhere, a big scherzo with a'two-fold repetition. It is followed by another slow movement, in song form, with two sections, and only in the last movement do we meet the traditional form in which string quartet movements, especially first movements, are usually east. Like nil the last great quartets of Beethoven, it is expressive of his own feelings in those last sad years. But it is by no means so profoundly melancholy as some of its neighbours; there are long spells of really joyous beauty in it.
FROM such opportunities as they have had of hearing Prokofiev's music, listeners have learned something of his apparent disregard for old rules and conventions. It was as a breaker of new paths that he first made his name. Nevertheless, his music is clearly influenced by a genuine interest in the old classical forms, and he has a preference for terse and vigorous expression rather than for any emotional or romantic effects. He apparently cares very little whether or not he wins the affection of his hearers, but he certainly commands their interest in no uncertain way. There is some modern music to which one need not listen, but with his it is impossible to be indifferent, and, whether one likes it or no, it certainly has a very exhilarating and tonic effect.
A brilliant pupil of Rimsky-Korsakov's, he is naturally more surely at home in dealing with the orchestra: but, even in so comparatively slight and simple a piece as this quartet, something of his very striking originality can be heard.
Roy Fox 's BAND, from MONSEIGNEUR
