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Emmy Bettendorf (soprano) : Die
Loreley (Silcher) ; Abendempfindung (Nightfall) (Mozart)
Cortot (pianoforte): Thibaud (violin),
Casals (violoncello) : Trio in G (Haydn) -1. Andante con variazione ; 2. Poco adagio cantabile (Part I)-Poco adagio cantabile (Part 2) ; 3. Rondo all'ongarese
Emmy Bettendorf (soprano) : Von
Ewige Liebe (Love Eternal) (Brahms) ; Morgen (Tomorrow) (Strauss)

Directed by John Bridge
(North Regional Programme)
A note written by Herbert Howells states that: . this minuet-one of two pieces for small orchestra-was composed in October, 1917, and was designed expressly for the Gloucestershire Orchestra] Society. Though written to an imaginary scene, it little matters what particular "picture "is in the listener's mind, so there be a picture. It would seem, however, that airy Puck takes strange and ill-assorted companions for the dance-perhaps a Falstaff among them ? It is scored for two flutes, two clarinets, bass clarinet, pianoforte (used as an orchestral instrument), three separate violins, the usual strings,' timpani, bass drum and triangle. Most of these instruments dance in the keys of B minor or D or C major-save the triangle and bass drum, whose privilege it ever is to dance or play in several keys at once I '

Contributors

Directed By:
John Bridge
Written By:
Herbert Howells

James Whitehead (violoncello)
Josephine Southey-John
(pianoforte)
Villa-Lobos, bom in Rio de Janeiro in 1890, has taken a keen interest in the native music of his own country. He spent some years travelling all through it, taking down the strange, weird music of the Indians, but, though his own work is naturally influenced by that intimate knowledge of a very unusual idiom, it is all as original as anything which the present day has given us, as audacious in its departures from traditions as anything in modern Europe.

Contributors

Unknown:
James Whitehead
Pianoforte:
Josephine Southey-John

Relayed from
The Queen's Hall, London
(Sole Lessees, Messrs. Chappell and Co., Lid.)
WAGNER PROGRAMME
Part I
In writing Rienzi, Wagner admitted that his idea was to be imposing and extravagant in the prevailing grand-opera manner, though he pursued his theme with the sincerity of belief he had in it.
The opera itself would not prove effective if performed today. There are moments in it, but it is for the most part flamboyantly tiresome, and theatrical beyond even what we are prepared to stand from Wagner. There is some fine resounding music in the Overture, however, and though it leans slightly towards vulgarity in its more opulent melodies, its brassy vigour and fiery strength make the strongest of appeals.
In Act I, Scene 3, of Die Walkiire,
Siegmund, wounded and flying from his enemies, has come to the hut of Hunding, in the forest. There he finds Sieglinde, who gives him shelter, in which Hunding, returning later, acquiesces with surly hospitality. After the three have eaten, Hunding and Sieglinde retire, but Sieglinde stealthily returns. The present excerpt begins from here. She recognises in Siegmund her deliverer, and points out to him a sword, deeply embedded in a tree-trunk, that nobody can draw out. Siegmund, however, finds the strength to do so, to the overwhelming joy of Sieglinde, who now recognises her mate. After an impassioned duet Siegmund carries Sieglinde off with him into the forest.
Tickets can be obtained from [address removed] ; and usual agents. Prices (including Entertainments Tax), 7s. 6d., 6s., 5s. (reserved), 3s (unreserved), Promenade (payment at doors only), 2s.

Lord Ponsonby rather fears there is a tendency towards a uniformity of speech and wants to preserve the various provincial accents and dialects which exist in different parts of the United Kingdom and which are highly characteristic of local tradition and history. He thinks there is danger of undesirable affectation in the pronunciation of our language in people from various parts of the country endeavouring to cultivate the accent which they suppose is required of them if they want to show their refinement. His plea tonight will be for every man and woman to talk naturally, that is to say, as they have been brought up to talk in their homes.

National Programme Daventry

About National Programme

National Programme is a radio channel that started transmitting on the 9th March 1930 and ended on the 9th September 1939. It was replaced by BBC Home Service.

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About this data

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