From Birmingham
SANDY ROWAN (Scots Comedian)
TOMMY HANDLEY (Wireless Comedian)
COLLEEN CLIFFORD (Irish Songs and Stories)
THE Two M's and a Piano
PHILIP BROWN 'S DOMINOES DANCE BAND

From Birmingham
PHILIP BROWN'S DOMINOES DANCE BAND
T. C. STERNDALE BENNETT
(in his own Compositions at the Piano)

(From Birmingham).
' Fairyland ' and other Verses by Irene Oldenshaw. Songs by Stanley Finchett (Tenor). Edith James will entertain

THE CARLTON MASON SEXTET
ALICE LILLEY (Soprano)
LEYLAND WHITE (Baritone)
7.10 LEYLAND WHITE Selected Songs
7.42 LEYLAND WHITE
Selected Songs

From Birmingham

Eileen and Jelkovitch and Gregori Tcherniak (Duets for Violin and Balalaika)
The Salisbury Singers
Vincent Curran (Recitals)
Edith James (Songs at the Piano)

From Birmingham
THE BIRMINGHAM STUDIO AUGMENTED
ORCHESTRA
(Leader, FRANK CANTELL )
Conducted by JOSEPH Lewis ODETTE DE FORAS (Soprano) HAROLD SAMUEL (Pianoforte)
Part I
BACH'S well-known Concerto in D Minor is straightforward music, full of spirited tunes and swinging rhythm. It consists of three Movements.
The FIRST is a lively, vigorous piece with hardly a pause from start to finish.
The SECOND is slow and meditative.
The THIRD is sometimes emphatic, sometimes irresponsible, and always very gay.
TREACHERY, love and madness have brought Tristan to his death (in the final scene of Wagner's great love-drama, Tristan and Isolde).
Kneeling beside his body, Isolde takes her farewell of the world in this rich and wonderful song of ecstasy in death. It is known, in German, as the ' Liebcstod ' or ' Love-Death.'
BANTOCK'S Tone Poem was first brought out, under the title of Dante, in 1901. Ten years later it was revised, and its poetical significance somewhat altered. The composer's friend and confidant, Orsmond Anderton , describes it as ' a psychological study dealing with the influence of an uplifting ideal in the life of a man.'
First we have a portrait of Dante, sorrowful and reserved. The strife of his time, between Guelphs and Ghibellines, and Dante's portion in it, is suggested by a stormy section.
Then he meets Beatrice (Violin cadenzas, and Harp, with the theme of Beatrice on the Clarinet). Dante's blest vision following, brings in this theme, and then, as she departs, his impassioned desire bursts out.
The last section but one shows us Dante's exile, in bitter loneliness. Last of all, the themes of both Dante and Beatrice are heard together, suggesting the reunion of the two.

Part II
THIS Fifth Symphony of Tchaikovsky, and its younger and still more emotional brother, the ' Pathetic,' appear to be still without rivals in popularity among the Symphonies written since Beethoven. It is too well known to need close description. Those to whom it is not yet familiar should first know that there is a 'Motto' theme that binds the four move ments together. It is the chief subject of the sombre Introduction that leads to the swingmg FIRST MOVEMENT; it is declaimed noisily and abruptly at the climax of the romantic SECOND MOVEMENT; near the end of the Waltz which forms the THIRD MOVEMENT it enters, low down, with a suggestion of mockery, and as the spirited FOURTH MOVEMENT works to a climax it is thundered out triumphantly in the major key.