Request Songs by Betty Wheatley. A little dance music, played by the Sunshine Trio. ' Just like a butterfly ' (Woods), Charmaine' (Pollack and Rapee), ' Under the clover moon ' (Schwartz), ' Varsity Yale Blues' (Sinclair)

Relayed from the Free Trade Hall Relayed to Daventry Experimental
THE HALLÉ ORCHESTRA, conducted by SIR HAMILTON HARTY Solo Horn, RAYMOND MEERT Solo 'Cello, CLYDE TWELVETREES
THIS is a set of variations, a form admirably suited to the adventures of the Don.
There is an Introduction which shows us
Don Quixote 's interest in gallant, knightly doings. After a little, a solo 'Cello gives us the theme which represents the Knight- of the Doleful Countenance himself. The Bass Clarinet and Tuba begin the stout theme of Sancho Panza. Now the two start on their adventures. It is only possible here to give the heading of each Variation : I. The Adventure with the Windmills. II. The Victorious Conflict with the Host of the Emperor Alifamfaron. III. Discourse between Sancho Panza and his lord. IV. The Adventure with the Disciplinants. V. The Knight's Vigil. VI. He meets Dulcinea. VII. The ride through space. VIII. The famous Adventure of the Enchanted Bark. IX. The Fight with two Wizards. X. The Combat with the Knight of the White Moon. Don Quixote's defeat. He becomes a shepherd. Finale. Don Quixote's Death.

Relayed to Daventry Experimental

(Continued)
Relayed to Daventry Experimental DURING the summers of 1884-5, when Brahms was writing this, the last of his four symphonies, he was reading the tragedies of Sophocles. Perhaps, therefore, these may have influenced his mind a little. There is something austere in the music that has kinship with the moods of Greek tragedy, and also there is (as always in Brahms) deeply-felt, if restrained emotion. The work is in the usual four Movements.
FIRST MOVEMENT. The wide-stepping First
Main Tune, heard at the commencement, is a good deal elaborated, and the music soon becomes more animated.
A subsidiary theme for Woodwind and Horns has that arpeggio progress (the melody leaping from note to note of a chord) that was one of Brahms's distinguishing marks in tune-making. From this and the First Main Tune a great deal of the Movement is built up, though a group" of Second Tunes (instead of one Main Tune only) is also utilized. SECOND MOVEMENT. This is a tender, lyrical Movementin reflective, almost elegiac mood. THIRD MOVEMENT. Here is an atmosphere of rather boisterous jollity, which the percussion instruments notably help to create. The Movement is a Rondo, the Main Theme coming round several times, with other matter between the repetitions. FOURTH MOVEMENT. This takes a form rare in symphonies-that of the Passacaglia, which was originally a dance with, a fixed, recurring melody.

(Continued)