FLORENCE HOLDING (Soprano), REX PALMER (Baritone), RAYA GARBOUSOVA ('Cello),
RAE ROBERTSON (Pianoforte) Allegro ma non tanto (Not too quick) ; Scherzo :
Allegro molto (Very quick) ; Adagio cantabile (Slow, in a singing style); Allegro vivace (Quick and lively)
QCHUMANN'S song is among that wonderful outpouring; of songs that came in the first few months of his happy marriage. The theme is the beloved one, steadfast of heart and lofty of mind. THE VAIN SERENADE is tliat of a lover who, outside his lady's house, begs her to admit him, but is rebuffed. ' Please go home to bed ! ' is all he gets after standing, nearly frozen, in the icy wind.
IN September, 1827, Schubert was taken by his friend Jenger on a three weeks' visit to Oratz, where he stayed as the guest of Dr. Pachler, a barrister whose wife was an excellent musician, well known to Beethoven. The time was spent in picnics, excursions, and a round of amusements. Schubert's famous setting of Who is Sylvia ? (the mock-serenade from Two Gentlemen of Verona) was composed during this visit and dedicated to the hostess. Allegro con brio (Quick, fiery) ; Introduction leading to Adagio molto (Very slow); Hondo, Allegretto moderato (Moderately quick)
4.30 RAYA GARBOUSOVA
Selected Items

Relayed from Croyland Abbey, Peterborough

From the Studio
Hvmn, How sweet the name of Jesu sounds '
(Tune, St. Peter)
Prayer
Magnificat
Reading, Mark xv.
Hymn, ' When I survey the wondrous Cross '
(Tune, Rockingham)
Address by the Rev. Father VERNON
Hymn, ' Jesu, grant me this, I pray' (Tune,
Canterbury)
Henedietion
THE House of the Divine Compassion, to which Father Vernon belongs, is an order, working within the Church of England, which devotes itself chiefly to preaching and to work amongst the poor. It administers the parish of St. Philip, Plaistow-a typical East End quarter-and also maintains a Mission House in South Africa. Those of its members who prove to be good preachers are sent all over the country, and Father Vernon, who is one. of the most notable of them, has in the last eight years filled the biggest halls in such centres as Manchester, Glasgow, Bristol, and the University towns. He is also the author of a book called ' Happiness,' which has aroused much interest since its appearance last year.

Major Richard Rigg : Appeal on behalf of the Hospital Saturday Fund

Founded in 1873 for the purpose of assisting the voluntary hospitals, this Fund was the pioneer in enlisting the support of the staffs of business houses, factories, and workshops for this cause. Since its inception it has distributed £1,396,000 to hospitals and other institutions for the care of the sick, and it assisted 85,516 persons last year. Next Saturday is 'Hospital Saturday,' when an opportunity is afforded to the general public to further the work of the Fund. Contributions should be sent to [address removed]

The Wireless Orchestra, conducted by Stanford Robinson
Harold Williams (Baritone)
The Wireless Singers

It is an odd thing that though this Overture is always known by the name of Rosamunde, it is not the Overture Schubert wrote for the play of that name, but one he composed for a melodrama called The Magic Harp. Schubert wrote the Overture for it, and all the incidental music besides, in a fortnight.

It starts with an Introduction in a bold style, after which comes the First Main Tune, in the Violins, very softly. Its springing theme is full of fresh-air gaiety. The Theme is a little enlarged upon, and the Second Main Tune comes as the most perfect contrast. It is given out by Clarinet and Bassoon, an octavo apart, while the Bass Strings sustain a low note, which is called a 'pedal.'
On this material the Overture is built, with unflagging spirits. Its Coda, or tailpiece, is long, and carries us to the conclusion in a still gayer time.

The nickname was not Mozart's; but while it does not apply to the whole work, it does aptly fit the first and last Movements, which have a fine Jovian breadth and vigour about them. There are four Movements in all.

I (Quick and lively). At the outset what we may call three vigorous strokes of the whip by the whole Orchestra are heard, followed by a soft, gentle passage, and then more whip lashing. This constitutes the First Tune.
Then the music works along until, at last, it comes, in a loud emphatic way, to what we may call a semi-colon cadence, and there begins a gentle melody in the First Violins accompanied only by the Second Violins; as this continues, the Violas and 'Cellos, down below, quietly mimic what the First Violins are doing up above. This constitutes the Second Tune.
There is a little other subject matter, but these two Tunes are the main material.

II (Fairly slow, and in a singing manner). This opens with the Strings muted, singing a lovely tune. In this spirit the Movement continues. Listen for the charming passage in which a little six-note motif is taken by various instruments in turn in this order: First Violin, Second Violin, Bassoon, First Violin, Oboe, Second Violin, Flute, Oboe, Flute, Oboe, Flute. This sort of delicate playfulness is characteristic of Mozart.

III (Fairly quick). A gay little Minuet, with, in one place, a delightful passage for Woodwind alone.

IV (Very quick). This opens with a passage (strings alone) in which a sober, plain-song-like theme of four notes alternates with a flippant quicker one. Observe this, and a minute later you will be interested to hear how the plain-song theme is given to all the stringed instruments in turn, in the manner of a Fugue (in order, Second Violins, First Violins, Violas, 'Cellos, Double-basses). Nanette's Caprice; Question and Answer; Love Sonnet; The Frisky Tarantella