(From Birmingham)
THE BIRMINGHAM Studio AUGMENTED ORCHESTRA
(Leader, FRANK CANTELL)
Conducted by JOSEPH LEWIS

THE Serenades of Mozart are among the pleasantest light diversions in all music.
They each contain a number of Movements, such as could be played at intervals in a banquet or other social event.
This 'Nocturne Serenade,' as it is called, is scored for two little orchestral groups, one consisting of principal Strings, and the other of Violins, Violas, Violoncellos, and Kettledrums. The first group acts as a solo body, giving out the tunes.
There are three Movements, a March, a Minuet, and a Rondo. The chief episodes of the Rondo are in moods quite different from that of the main tune of the Movement.

ONLY a few months before his death Mozart wrote a Concerto for his friend Stadler, a fine player of the Clarinet, for whom, two years before, he had written a Quintet, with a prominent part for his instrument.
There are the usual three Movements, the first and last abounding in vitality and resource, and the middle (slow) one in particular containing some lovely decorative work for the soloist.

WHEN Haydn was about twenty-seven he became 'Director of Music and Chamber Composer' to a Count Morzin, who had a little band of his own. For this band, during the next year or two, Haydn wrote a number of works, 'Divertimentos' and Symphonies. Among the latter are several known by titles - 'Le Matin,' 'Le Midi,' and 'Le Soir.'
In the last of these we observe tho contrasts of character that distinguish the Movements, the careful elaboration that represents tho classical ideal, and the unforced flow of simple, apt ideas that we recognise as the signature of Haydn.

MOZART'S sparkling little work is one of the lesser known Symphonies. It is supposed to have been composed at Salzburg in 1773 - in which year Mozart wrote a Mass, four Symphonies, six String Quartets, and several other things! The work is rather unusual in form, for the 'classical' period. It consists of only three short Movements, and there is no sort of finality at the end of the First and Second Movements, the First leading straight into the Second, the Second into the Third.