THE WIRELESS MILITARY BAND, conducted by B. WALTON O'DONNELL
DOROTHY BENNETT (Soprano) ; DENNIS N OBLE
(Baritone); EDWARD ISAACS (Pianoforte)

(See London)

(Continued)

Address by THE ARCHBISHOP OF CANTERBURY
THE BELLS

(For full details see under London)

From Birmingham
THE BIRMINGHAM STUDIO SYMPHONY ORCHESTRA
Conducted by JOSEPH LEWIS
MARGARET BALFOUR (Contralto) ; EDNA ILES
(Pianoforte)
SEVERAL of Bach's seven keyboard Concertos
(for on& solo instrument and an Orchestra of Strings) am arrangements of Violin Concertos.
Thus it is with the D Minor Concerto. The original Violin work from which it was transcribed was lost.
Bach not infrequently wanted a. new work in a hurry, for some concert or other, and there' are obvious signs of haste in his arrangements of String works for the keyboard. Nowadays, we should consider those two styles of music soj distinct that we should not adapt for the Piano something written for a Violin, without ' thinking' the music afresh, in terms of the new and so different medium, but in Bach's day the difference in style was not so marked...In any case, however hurried and sometimes technically re-' strieted the work may have been, we feel the! power and pulse of the music, and that is the main thing.
This D Minor Concerto is built, after the custom of its time, in three parts : two quick Movements, separated by a slow and expressive one.

THIS is the Symphony that Haydn chose for performance at an Oxford concert in 1791,! when the University conferred on him the degree of Doctor of Music. It is typical Haydn music, delightfully fresh and spontaneous, and full of humour.
It is scored for Flute, two Oboes, two Bassoons, two Horns, two Trumpets, Drums, and Strings. There are four Movements.
First MOVEMENT. The First Movement begins with a slow Introduction, mostly quiet String work. After a pause, we break into the First Movement proper (quick, spirited). The First Main Tune is started by Strings and continues for some time. When at last the Second Main Tune arrives, it turns out to be just a neat little sentence of two tiny, exactly balanced phrases. This again is introduced by Strings, and repeated, while Flute trips down the scale and up again. That is all. But out of this material a wonderfully varied and lively Movement is made.
SECOND MOVEMENT (Slow). This is really an 'Air with Variations,' but the song-like, expressive theme is treated very freely, and sometimes practically disappears.
THIRD MOVEMENT. Minuet and Trio (Fairly quick). A gay, strong little Tune is given out by most of the Orchestra. It is repeated, then ' developed,' and again repeated. That ends the Minuet.
The Trio is exactly similar in form. The chief part of the Tune is given to the two Horns, with the two Bassoons an octave below, and it hag strong accents on weak beats. Haydn gets -some delicious, almost bewildering ragtime' effects out of these misplaced accents.
After the Trio, the Minuet is repeated.
Last MOVEMENT. The Finale (Very fast) is just an exhilarating, express-speed dance. It is full of humour-for example, false starts which leave one in suspense, and the comic rapid ' pom-pom ' of Horn and Bassoon.

From Birmingham