FROM THE PICCADILLY HOTEL

Directed by JOHN BRIDGE
(From North Regional)

EARLY ORGAN MUSIC
Played by G. D. CUNNINGHAM
Relayed from The QUEEN'S HALL
(Sole Lessees, Messrs. Chappelland Co., Ltd.)
THE greatest period in English music was that which began with Thomas Tallis , who was born in 1510, and continued almost without a break until the middle of the seventeenth century. Henry Purcell , whose period is a little later than that, functioned rather as an isolated genius than as an offshoot of this movement. In the reign of Elizabeth, therefore, English composers formed as distinguished a group of creative musicians as any in Europe. The music which in recent years has been collected and published of Tallis, Byrd, Morley, Dowland, Wilbye, Gibbons, Weelkes, and others, is as nolile a musical heritage as any country can show.

by Jane Austen
Read by Mr. Ronald Watkins

Down to Kent, with Elizabeth and the Bennet and Lucas families, to meet Lady Catherine de Bourgh, that autocrat of the tea-table, to whom Mr. Collins in triumph presents his bride. Elizabeth is again thrown unwillingly into the company of Mr. Darcy, who, to her intense astonishment, makes her an offer of marriage, which she, to his equal astonishment, rejects. Mr. Watkins reads from Chapter XXIX today, and from Chapter XXXII on Thursday.

SIGISMOND STOJOHKI, Polish pinnist and composer, and pupil of! Paderewski, had a brilliant career as a soloist in Europe before he left to take up teaching and solo work in the United States. He has written a great deal, both for orchestral and pianoforte, besides a number of songs, many of which are in the repertoires of leading European concert singers.

Relayed from The QUEEN'S HALL, LONDON
(Sole Lessees, Messrs. Chappell and Co., Ltd.)
Tchaikovsky
TATIANA MAKUSHINA
ARTHUR CATTERALL fHE B.B.C. SYMPHONY ORCHESTRA
(Principal First Violin, CHARLES WOODHOUSE)
Conducted by Sir HENRY WOOD
Chant sans Paroles
March Miniature (Suite No. I in D Minor)
THE Chant sans Paroles is one of three -*- pianoforte pieces, having the collective title of Souvenir Hapsal, and published as Opus 2, so that it is a very early work. It shares the popularity of those early and often happy little compositions of which most great composers have been inspired to write at least one. Usually the composer, as soon as his reputation gets to any sort of size, looks back on these things and wishes he had drowned them at birth. But it would not have been easy then, and impossible later, as every eomposer who has tried knows very well. Things like this Chant sans Paroles are as buoyant and weather-proof as corks.
TCHAIKOVSKY was very pleased with the J- music of his First Suite, but he did not at first reckon with criticism. He got it almost at once from Rubinstein, who had already found fault with the Pianoforte Concerto, and now found a good deal of fault with this Suite, too. He considered some of the orchestration awkward and far too difficult for any player who was not exactly a virtuoso. Tchaikovsky's friend, Taneiev, told Tchaikovsky all about it, greatly to Tchaikovsky's indignation; he voted the criticism most unfair. ' From all he says,' he writes to Taneiev, ' I can plainly see that Rubinstein was out of temper and visited it upon the Suite: ... altogether his criticisms are such that, were they accurate, I should have to lay down my pen for ever.' Tchaikovsky was seriously annoyed and declined to make any alteration whatever.
TATIANA MAKUSHINA and Orchestra,
Air dos adieux (Jeanne d'Arc)
THE story of Tchaikovsky's Joan of Arc does not agree with history. With true operatic licence it grossly distorts the facts; for instance, Joan has not only one lover but, later, a second. This aria occurs in the first Act ; . a Festival is taking place in the village and there is dancing and singing. Joan's father, however, is not in tune with this frivolity and desires Joan immediately to marry Raimond, her affianced, so that she may be protected in these troubled times. Joan, however, is already fired with her desire to free France from the enemy ; suddenly she rises up feeling the hour for action has come, and speaks as one inspired. In this aria she bids farewell to her native village.
ARTHUR CATTERALL and Orchestra
Violin Concerto in D
1. Allegro moderato ; 2. Canzonetta : Andante ; 3. Allegro vivacissimo
TCHAIKOVSKY had no luck with his concertos at the start. The brilliant Pianoforte Concerto in B Flat Minor was intended for Rubinstein, who turned it down as soon as he saw it. Similarly, this Violin Concerto was dedicated to Leopold Auer , whom Tchaikovsky desired should give the first performance. Auer, too, shirked it, and it was actually produced by Adolphe Brodsky , who later became Principal of the Royal Manchester College of Music. He it was who played it in 1881 in Vienna. It had a rotten press, some of the critics being particularly vituperative. As an act of grace it may be recorded that both Rubinstein and Auer handsomely recanted and the respective concertos became full favourites in their repertory.
ORCHESTRA
Symphony No. 6 in B Minor (Pathetique)
1. Adagio, Allegro non troppo ; 2. Allegro con grazia ; 3. Allegro molto vivace ; 4. Finale : Adagio lamentoso

Weather Forecast, Second General News Bulletin

THE B.B.C. DANCE ORCHESTRA, directed by HENRY HALL