Hymn, In the bleak mid-winter (Songs of Praise, No. 75)
Opening
Carol, Where shone a star
Reading, Revelation iii, 20-iv, end Prayer
Hymn, O come, all ye faithful (Ancient and Modern, No. 59)
'The Psychology of Travellers' Tales'
Mr. RICHARD HUGHES
Directed by Joseph Muscant
Relayed from The Commodore Theatre,
Hammersmith
A Miscellaneous Programme-Pantomime
The London Symphony Orchestra, conducted by Albert Coates : Kikimora, Op. 63 (Liadov). Orchestra and Soloists : A Pantomime. Cinderella. The Plaza Theatre Orchestra: Fantasy, Three Bears (Eric Coates ).
Directed by Frank Cantell
Dance Music
THE NEW ENGLISH STRING QUARTET:
Winifred Small (Violin); Esme Haynes (Violin); Winifred Stiles (Viola);
Florence Hooton (Violoncello) VERONICA MANSFIELD (Mezzo-Soprano)
HAYDN'S PIANOFORTE SONATAS
Played by Mrs. NORMAN O'NEILL
Sonata in E flat, No. 1
1. Allegro; 2. Adagio ; 3. Finale : Presto
Sonata in G, No. 16
1. Allegretto innocente ; 2. Presto
While in English editions practically all music written in the eighteenth century for keyboard instruments is called pianoforte music, scarcely any of it is really so. It is true the pianoforte was in existence and in use during the whole of the century, but not until towards the end of it was music composed definitely in conformity with pianistic tone and technique. Bach played on a pianoforte in 1747 to please Frederick the Great, but he much preferred the clavichord ; Mozart actually possessed a pianoforte, and his famous musical duel with Clementi (one of the first champions of pianoforte playing and the first real composer of pianoforte music) was fought in Vienna before the Emperor on the newer instrument.
But Mozart was happier either with the more intimate clavichord or the old and tried harpsiehord, while Beethoven, who did use a pianoforte and who wrote for it, admitted that for tone and interpretation there was nothing to equal the clavichord. Therefore it is reasonably clear that Haydn's ' pianoforte ' sonatas to bo played in this week's Foundations Series were composed in the technique of an older keyboard instrument, probably the clavichord, whatever their treatment may have been under the hands of contemporary and later executants. Were they, however, now to be played on a clavichord, radio listeners might find great difficulty in hearing the music at all, for the action of the clavichard, which is to excite a length of string to vibrate by pi'essure rather than by percussion as with the pianoforte, is so soft, intimate, and cooing that its delicious 'tone is scarcely heard beyond a limited circle of attentive listeners seated near the instrument.
Conductor, B. WALTON O'DONNELL
MAGGIE TEYTE (Soprano)
RUDOLPH DOLMETSCH (Harpsichord)
LEW STONE and his BAND, relayed from The Cafe
Anglais
(Shipping Forecast at 11.0)
