KATHLEEN SALMON and HILDA MELLOR

JOE HAYMAN , the Jewish Entertainer (assisted by MILDRED FRANKLIN ) in Comedy Sketches

(From 1562 to the Present Day)
THE C.W.S. MALE VOICE CHOIR. conducted by ALFRED HIGSON

HERBERT HEYNER (Baritone)
THE AUGMENTED STATION ORCHESTRA, conducted by T. H. MORRISON
ORCHESTRA
Variations on a Theme by Haydn
THE Tune out of which the whole piece is made was taken by Brahms from an unpublished Brass Band piece of Haydn, where it is called a ' Hymn of St. Anthony. The reason for the name is unknown.
Brahms' plan is to give out the Hymn an its plain form, and then to follow it with eight
Variations and a Finale. A word or two as to each of the Variations will make. clear their styles.
'The HYMN moves steadily, at a gentle pace.
VARIATION I. (A little more lively.) This is made out of two phrases, heard at the opening, where the Upper Strings nave a rising phrase four-in-a-bar, and the Lower Strings have a falling phrase, six-in-a-bar.
VARIATION II. (Livelier.) The music goes into the minor, and at the opening, Clarinets and Bassoons carry on a version of the Hymn, the Violins, etc., weaving a phrase against it.
VARIATION III. (With speed.) Oboes and Bassoons first, and Strings later, have the main melody, a pleasantly flowing one.
VARIATION IV. (Going steadily, at a moderate speed.) Three-in-a-bar time. Oboe and Horn sing a simple little tune, soon taken over by Strings. So the Variation goes on, with varied and charming orchestration.
VARIATION V. (Very lively.) Now the music goes into six-in-a-bar. This Variation is a sort of ' Scherzo,' with some gay exchanges between Strings and Woodwind.
VARIATION VI. (Very lively.) The time changes back to two-in-a-bar. At the opening Horns, Bassoons and Double Bassoon carry the main theme of the Variation, Strings plucking an accompaniment which is itself a version of the Hymn.
VARIATION VII, (Gracefully.) This is a sort of pastoral dance—six-in-a-bar.
VARIATION VIII. (Quick, but not too much so.) Three-in-a-bar again. Strings are muted throughout, and the whole Variation is delicate.
Finale. (Steadily moving along at a gentle pace.) Four beats in a bar. This is rather lengthy in comparison with the Variation just described. Of the opening tune (Strings alone) a good deal is made. Near the end the original HYMN is heard in the Strings, with a mighty rushing Wind against it.
ORCHESTRA
First Symphony
BRAHMS began to write symphonies only in middle life. His first (Op. 68) appeared in 1876 (he was born in 1833, six years after Beethoven's death), and at Cambridge, in March of the following year, it was heard for the first time in this country. The University Musical Society (then under Stanford's charge) played it, conducted for the occasion by Brahms' great friend, Joachim, the Violinist, on whom the degree of Doctor of Music was being conferred.
The Symphony in C Minor follows the usual
' classical ' forms, and is in four Movements.
The FIRST MOVEMENT is very weighty and unusually serious, even for Brahms.
The vein of seriousness affects also the SECOND
MOVEMENT, a gently flowing piece, partly song-like, partly rhapsodic.
Then comes a more light-spirited THIRD
MOVEMENT, of a more seizable rhythm, but one that is far from introducing the spirit of gaiety that we often find in one of the middle pieces of a Symphony.
The LAST MOVEMENT opens with a short, solemn Introduction that keeps the Violins in soaring flight for a few bars. Then after a change from the prevailing minor to a major key and a short pause, the urgent Finale (still in the major) starts on its long, exulting course.