From Birmingham
Relayed from the Pump Room Gardens,
Leamington
THE BAND OF H.M. ROYAL ARTILLERY (Mounted)
Conducted by T. J. HILLIER
UPON Pick-Mangiagalli the influences of three nations have been exercised. He was born in 1882 in Bohemia (now Czecho-Slovakia), has studied in Italy, and lived at Vienna, though he is a naturalised Italian. The work of his that we know best here is his orchestral Tone Poem Witchcraft (Sortilegi). Besides this, he has written, in about a quarter of a century of composition, anOpera. a Lyric Comedy, a ' Monimimic Legend, a ' Musical Fable,' a ' Mimo-symphomc Comedy, a Violin Sonata, a String Quartet, and some pianoforte pieces, one of which we are to hear.
In a Toccata we expect something brilliant, as the name, derived from the verb ' to touch, suggests-a piece to show us the performer s command over the keyboard.
AMONG those few of the leading composers of the day who have turned their attention to the Military Band is Hoist, who has written two delightful, tuneful Suites for this medium.
The one now to bo heard is made up of four separate pieces. Most of the tunes in them are old English.
The- First piece is a lively, swinging March.
Two old tunes appear in this-those of Swansea Town and Claudy Banks.
The Second is a pensive Song without Words.
The tune is I'll love my love.
The Third is the bluff Song of the Blacksmith.
The anvil is very aggressive.
The Fourth is an exhilarating Fantasia on The Dargason, and introduces the fine old tune, Grecnsleeves.

(From Birmingham) :
' The Pirate Ship,' by Captain Cuttle, with incidental songs by HAROLD CASEY

From Birmingham
HERBERT THORPE (Tenor) and HARRY BEINDLE
(Bass) (in Songs and Duets)
SOLLOWAY (Violin)
IVAN FIRTH and PHYLLIS Scott
(in Old Time Favourites)

ACT II
Relayed from the ROYAL OPERA House, CovENT
GARDEN

by HAROLD CRAXTON
FARNABY was clearly ahead
-*- of his time—the early seventeenth century. He was one of the most poetically-minded writers of the day. Many of his little pieces are miniature mood-sketches, expressive beyond the usual run of keyboard music at that period. We do not know if in writing this piece he had in mind any particular happenings at St. Paul's Wharf, by Thames-side, but the impression he aims at giving us is evidently a cheery one. Most likely, Pawle's Wharf was the name of a popular tune of the day, which he took as a basis for the composition.
DEFESCH was an eighteenth century Belgian violinist-composer who spent the last twenty-five years of his life in London.
CHOPIN was not the inventor of the Nocturne. That distinction belongs to the Irishman, John Field ; but Chopin had a wider emotonal range and a finer feeling for the possibilities of the Piano than had Field, and the three Nocturnes in the second set he wrote (of which this is one) show his developing imaginative power and technical freedom.
The Nocturnes, like many other of Chopin's pieces, are capable of bearing a good many poetical interpretations. The attraction of this music does not, of course, consist in its being supposed to represent or suggest this, that or the other, but in the fact that it has moods and real emotions, and that the player's imagination, working on the composer's material, transmits some clear mood and emotion to us. The Nocturnes may thus appeal in widely different ways to listeners of differing temperament, each hearer giving some personal colour to the music as it passes through the prism of his own imagination.

: AMBROSE'S
BAND from the Mayfair Hotel