the time signature. Presumably he means not merely that the time signature is incorrect, but that what are now written as crotchets should have been written as minims, so suggesting to the eye a slower tempo. Anyhow, it seems clear that the intention of the above is that the passage as it now stands should go at the speed of 80 quavers to a minute, and as here recorded it goes at the speed of 160 quavers to the minute, so recalling the mis-reading of the Scherzo in Beethoven's Ninth Symphony, which also is traditionally taken at twice its proper speed.

Against Mr. Heseltine's suggestion, however, is the fact that at half its present speed the passage in question would move very slowly indeed. I can, myself, hardly realise that it would be effective, but perhaps with very delicate playing there might be obtained that effect of mysticism which is probably what the composer wishes. At all events as the passage stands it appears to me to be dull and unconvincing, and I am willing to have Mr. Heseltine's directions tried. It is a thousand pities that the laws of nature preclude our slowing down our Gramophone turntables without at the same time lowering the pitch of the music.

(6) So much discussion of the last Variation may have conveyed the idea that it is a long one; as a matter of fact, it is only of eleven bars length. But it is followed by a similar Variation (to which the same considerations of speed presumably apply), in which the Full Orchestra is engaged, HORNS, CLARINETS, COR ANGLAIS and VIOLINS playing the melody, and the other instruments supplying the syncopated accompaniment.

(7) The last-named Variation is succeeded by a passage the fabric of which consists of TREMOLO STRING TONE (with some soft Kettledrum notes), into which fabric are embroidered by various Wood Wind instruments and Horns, references to preceding matter, including the FLUTE arabesque from the Introduction.

"

Unfortunately this passage has been very imperfectly played, or else has suffered in the recording, and even with the score before one it is almost impossible to discern in a performance the shapes and colours of some of the embroidery just mentioned.

It is to be assumed, by the way, that if Mr. Heseltine's demand as to speed were conceded it would affect this passage also, as from the moment where he interjected his remark until the present the music has gone on continuously in the same time. I can hardly imagine the present passage making its effect at half the present speed, but presumably it is the Composer's intention that this speed should be adopted, and I may be wrong.

(8) Triple time returns, and with it an extremely delicate Variation of the Folk Tune (Gaily, più vivo). A CLARINET carries the Tune, and Flute, Bassoon and Horns accompany, with Kettledrum and Triangle marking the rhythm.

(9) The Tune (in its original form) goes into the bass, 'CELLOS being entrusted with it. The other Strings accompany, and unfortunately the 'First Violins (Desk I.),' to whom a running semiquaver counterpoint is entrusted, cannot forget that they are 'First Violins (Desk I.)' and refuse subordination.

The

(10) An upward sweep of the Harpist's fingers leads in another repetition of the Folk Tune, in which OBOES, CLARINETS and some VIOLINS carry the melody. remainder of the Orchestra (barring the louder Brass) accompany.

(11) Four bars for TRUMPETS, TROMBONES, TUBA, HORNS, CLARINETS and KETTLEDRUMS lead to a fortissimo repetition of the Folk Tune by Full Orchestra.

(12) Then for a few rapid bars we lose our heads in triplet exaltation (WOOD and STRINGS alternately giving the triplets, whilst Brass, KettleDRUMS, BELLS and TRIANGLE stand by and applaud).

This is but an incident, however, and we are now thrown into the midst of a joyously riotous passage for FULL ORCHESTRA (Rather slower, maestoso, very broadly). The material is largely taken from the previous themes, and the delicate Flute arabesques from the opening bars are actually transposed to TROMBONES and TUBA, in octaves!

This passage is extremely effective, and is the culminating point of the Rhapsody.

(13) Then comes a quietening down until (very quietly) there enters the original Folk Tune, in OBOE, with accompaniment for Strings (and a little Horn tone and soft Kettledrum). Four or five bars (rather slower and dying away to the end), with a touch of Flute, close the Rhapsody.

(I regret to state that the Oboe passage mentioned is at its opening very unrhythmically played; there has assuredly been some misunderstanding between Oboist and Conductor as to one another's intentions, and as the passage in which their ideas diverge should be one of the most impressive in the whole piece, they have supplied still another weighty reason for the re-recording of this one side of the three, for which I have pleaded.)

ON HEARING THE FIRST CUCKOO IN SPRING.

The charming little tone poems, On hearing the First Cuckoo in Spring and Summer Night on the River, were written in 1911-12, and are dedicated to the well-known composer, Balfour Gardiner. They are scored for a small orchestra: 2 Flutes, Oboe, 2 Clarinets, 2 Bassoons, 2 Horns and Strings.

On hearing the First Cuckoo in Spring is based on two tunes. After a mere three bars of Introduction (which ought to be played piano), the First Tune (quite short) begins; it has a rocking motion, perhaps suggested by the rhythm of a Cuckoo's cry, and is given to STRINGS, with,

in one place, little wisps of melody in CLARINET and OBOE woven in.

A moment later the Second Tune starts. It is a Norwegian folk-song, In Ola Valley; it runs on continuously from the previous tune, but its opening ought quite easily to be noticed from the fact that the FLUTE enters here for the first time in the piece (unfortunately, I cannot in this passage detect the Flute doubling the first phrase of the tune an octave higher, as it ought to do; the entry of the OBOE, with the same phrase, a moment later cannot be missed).

There are several vague suggestions of the cuckoo call, as for instance by the two Clarinets, a little after the point just described. Soon, however, there comes an actual imitation of the call (plainly marked 'Cuckoo' in the score); it is allotted to the First Clarinet (as given in this performance it is very faint, and can barely be heard).

This continues for some time, and then the piece ends with a repetition of the First Tune, very softly played, and at last fading into the distance.

I would not call this a bad Record-nor a good one. The piece is one that should be played with the utmost delicacy and the most perfect balance, and here it is not so played. Like its companion, the last section of Brigg Fair, it should, then, be re-recorded. There are some short passages omitted, but they are not vital.

(The Norwegian folk-song, mentioned above, can be found in Grieg's Nineteen Norwegian Folk Melodies arranged for Piano, Op. 66; Peters Edition.)

It may be of interest to some readers to see Brigg Fair and the Cuckoo placed chronologically in relation to some of its composer's other works:

Two Large H.M.V. Black Records. D. 799, 800, each 6s. 6d. Printed Music. Brigg Fair. Curwen, Full Score, 45s., Miniature Score 5s. 6d., arrangement for Piano Duet, 3s. 9d. On hearing the First Cuckoo in Spring (published together with Summer Night on the River by Tischer & Jagenberg, of Cologne, and similarly obtainable), Miniature Full Score, 7s. 6d., Piano arrangement, 4s.