Ralph Downes (organ)
Prelude in E flat
Three Chorale Preludes:
Allein Gott in der Höh' set Ehr
Christ unser Herr. zum Jordan Kam SchmUcke dich, o liebe Seele
Fugue in E flat
Europe in the Making
Talk by Jean Claude , economic and financial editor of Le Figaro
The second of two programmes selected by Lord David Cecil
Production by Francis Dillon
(Leader, Laurance Turner )
Conductor, Sir John Barbirolli
From the Town Hall, Cheltenham
See article on page 7
Talk by Giles E. Dawson
Claims to the authorship of Shakespeare's work have been put forward on behalf of Bacon, Fulke Greville , the Earl of Oxford, the Earl of Derby, and many others. The Curator of Books and Manuscripts at the Folger Shakespeare Library, Washington, considers the evidence.
A dramatic symphony by Hector Berlioz to words adapted from Shakespeare's play by Emile Deschamps (soprano)
(tenor)(baritone)
Choir of Radiodiffusion Franchise
(Conductor, Felix Raugel )
Orchestre National
Conducted by D. E: Ingelbrecht
Part 1
Introduction:
Combat; Tumult: Intervention of the Prince
Prologue:
Choral recitative; Song; Recitative and scherzetto
(Continued in next column)
Part 2
Romeo alone; Sadness; Distant sounds of music and dancing; Great festivities In Capulet's palace
Starlit night: Capulet's garden, silent and deserted; The young Capulets, leaving the hall, pass by singing fragments of the dance music: Love scene
Part 3
Juliet's funeral
Romeo in the Capulet family vault:
Invocation; Juliet's awakening; Delirious joy, despair; Anguish and death of both the lovers
Finale:
The crowd hastens to the church-yard: Dispute between the Capulets and the Montagues; Recitative and aria of Friar Laurence; Oath and reconciliation
From Paris.
Shakespeare's Romeo and Juliet, with Henrietta Smithson playing the part of Juliet, had fired Berlioz' imagination early in his career. The opportunity to write his ' dramatic symphony with choruses ' came when Paganini sent him 20,000 francs as * a tribute of respect.' Berlioz was able to pay off all his debts and, in his own words, ' to write a masterpiece, grand, impassioned, original, worthy of dedication to the master to whom I owed so much.'
In his preface to the work Berlioz said that the reason why the dialogues of the two lovers, Juliet's monologue, and the passionate emotions of Romeo are not sung was that the peculiar character of the sublime love between them could be expressed better in instrumental language; for this language was richer, more varied, unlimited, and by virtue of its very vagueness incomparably more powerful than any words sung or spoken. Harold Rutland
Talk by Ian Grimble , illustrated by recordings of the Faroese Choir of Copenhagen
Trio in B flat, Op. 97
(The Archduke) played by the Harry Isaacs Trio:
Leonard Hirsch (violin) James Whitehead (cello)
Harry Isaacs (piano)
Talk by David Piper
The William III Memorial Exhibition at the Victoria and Albert Museum brings together many portraits of William. The speaker considers these both as House of Orange propaganda and as enduring records of the man.
