JAN RALFINI and his BAND
From Caproni's Palais de Dance, Bangor

WINIFRED FISHER (Soprano)
KENNETH ELLIS (Bass)
HARRY DYSON (Flute)

Serious and Gay
ERNEST A. A. STONELEY {Violin)
THE STATION CHOIR AND ORCHESTRA
Conducted by E. GODFREY BROWN
ORCHESTRA
Academic Festival Overture. Op. 80
First Movement from Concerto in D for Violin and Orchestra, Op. 77
(Soloist, ERNEST A. A. STONELEY )
THIS Concerto is in the usual three movements. the first being the longest and most elaborate. There is a full-sized introduction by the orchestra in which the main theme is heard at the beginning. There are two other themes, of which the second, by its rhythm, has a big influence on the whole course of the movement. The solo violin, when it enters, has a brilliant passage leading up to the first main theme, which it follows soon afterwards with the second principal tune. It has another broad melody in double notes, and still one other new melody, also in double notes. Towards the eud, in the usual place, there is a great Cadenza for which Joachim is thought to be responsible.

--0 Lovely May, Op. 93.A
Nightwatch, Op. 104. No. 1
Love Song, for Women's Voices
A Pretty Little Singing Bird (* Songs of Love ')

Two Minuets from Serenade in D

Gipsy Songs for Chorus with Pianoforte Accompaniment

Hungarian Dances, Nos. 11 to 1G.... arr. Parlow
BRAHMS' Hungarian Dances must be well known to countless listeners who have very little interest in the rest of his work. He was not a Hungarian himself, but the verve and rhythm of their dances and folk songs interested him keenly all his musical life. And he made use of them in many ways in his own works. It is supposed that his interest in them was first aroused when. e.s a young man, he went on tour with the Hungarian violinist Remenvi, and that may well be true. Remenyi was himself an enthusiast for the folk music of his own country, and played many of the native airs, so that Brahms heard them in all their genuine vigour and charm.
The Hungarian Dances appeared first as pianoforte duets-for two players at the one keyboard, and very soon became so popular all over the world that arrangements of them in all manner of other ways quickly came into being. The great Joachim arranged them for violin, and Piatti for violoncello, with pianoforte accompaniment, and orchestras and military bands everywhere seized on them as splendid additions to the popular repertory.
There can be but few listeners to whatever kind of programme, who have not heard and enjoyed some of them.