The Wireless Orchestra, conducted by John Ansell
Edith Furmedge (Contralto)
Ruby Helder (Tenor)
Cecil Baumer (Pianoforte)

Tchaikovsky was fond of attaching emotional 'programmes' to his works, generally making them out to be commentaries on the darker side of things. In the Fourth Symphony he introduces a 'Motto' theme that. he said, represented 'Fate... that inevitable, force which checks our aspirations towards happiness.' This motif is one of the main themes in the First Movement, and it also comes into the Last.
Of the two Movements we are now to hear, the Third Movement is a lively one. It is marked pizzicato ostinato, which means that the String players pluck their strings with the finger, instead of playing with the bow. It has three strongly marked musical ideas, which enter in this order: (1) The pizzicato music, which is unmistakable and is carried to some length: (2) a tune played by Wind instruments, suggestive of street music; (3) martial music on Trumpets. These three ideas are worked into it Movement of very individual character that is often played apart from the Symphony.
The Fourth Movement is one of Tchaikovsky's noisiest. Writing his own explanation of it. the Composer said: 'Go to the people. See how they can enjoy life and give themselves up entirely to festivity. A rustic holiday is depicted.' It is evident that the Russian peasantry enjoyed itself boisterously. There is no need to give clues to this effective piece of orchestral impetuosity. At its height the 'Motto' theme enters 'Hardly have we time to forget ourselves in the spectacle of other people's pleasures,' says the Composer, 'when indefatigable Fate reminds us once more of its presence.'

Selections by the Daventry Quartet
"The Tale of the Lost Court Wizard" (Geoffrey Bevan)
"The Children of the Ferry" (Herbert Strang)

BACH'S 4s PRELUDES AND FUGUES, played through consecutively at this hour daily throughout the month

Mr,-. JACK HYLTON and her PLAYERS in Syncopation
MABEL CONSTANDUROS
DENIS O'NEILL (Irish Songs and Stories)
JOE HAYMAN (the well-known Jewish Entertainer). assisted by MILDRED FRANKLIN , in Comedy Sketches
GEORGE CARNEY (Entertainer)
Introduced by Mrs. JACK HYLTON and her
PLAYERS

Interpreted by Mark Raphael
O wusst' ich doch den Wegzuriiek (Oh, knew I but the way to return)
Wie Melodien zieht es mir (Like melodies it draws me)
Vergebliches Standchen (The Vain Serenade)
Die Mainacht (The May Night).
Die Sonne scheint nicht mehr (The Sun no Longer Shines)

The last three Songs in Brahms's Opus 63 are settings of verses called Heimweh (Home-sickness) by the Poet Klaus Groth. In the second of these, O wusst' ich, the singer regrets that h< ever left, the land of his childhood in vain search of happiness which he has never found.
Wie Melodien sings of 'something' which comes like melodies and spring blossoms, but is elusive as grey mists and breaths of air. 'But yet,' says the song, 'in Rhymes there lies well hidden a fragrance which brings tears to the eyes.'

Vergebliches Standchen is a lively little ditty, the words of which are a folk-song from the Lower Rhine. The lover, outside the beloved's house, begs her to admit him. pleading that he is so cold in the icy wind. His heart will freeze. his love will be extinguished. Won't she please let him in?' 'No! Good night, my boy, please go home to bed!' is all he gets for his pains.

Die Mainacht is the sorrowing recollection of one who. under the May moon, wanders lonely through the woodland. The turtle-dove coos, reminding the lover of past joys. Where is to be found the image of the lost one? In the sadness of recollection the tears fall.

Die Sonne scheint nicht mehr, a German folk-song, is the age-old lover's complaint that he has lost his heart, and with it the light of day. With quickening pulse he proclaims that you can put out a tire, but you can never extinguish Love.

JOHN GOSS and THE CATHEDRAL MALE VOICE QUARTET in Sociable Songs(First performance, specially written for the Celeste Octet by the Composer)