Conducted by Mr. ERIC WARR
RICHARD RENSLAM (Treble)
Rev. NORMAN DE LANGDALE
Relayed from St. Anne'a Church, Soho

(From Birmingham)
Leader, FRANK CANTELL

(From Birmingham)
BILLIE FRANCIS and his BAND
Relayed from the West End Dance Hall
EDITH JAMES (Songs at the Piano)

(From Birmingham)
AUNTIE RUBY, UNCLE LAURIE and HORACE of NOTTINGHAM will
Entertain
JAMES DONOVAN
(Saxophone)
'The Old Gargoyle,' by E. M Griffith

MAY BLYTH (Soprano)
PERCY WHITEHEAD (Baritone)
THE GERSHOM PARKINGTON QUINTET
Selection of Schumann's Songs

' The Planets,' GUSTAV HOLST. Introduced by PERCY SCHOLES

(From Birmingham)
A Programme of Old Favourites for our listeners by the BIRMINGHAM STUDIO CHORUS and ORCHESTRA
Conducted by Joseph Lewis

THE BIRMINGHAM STUDIO
AUGMENTED ORCHESTRA
Leader, FRANK CANTELL
Conducted by JOSEPH LEWIS

Violin Concerto in A
Minor, Op. 82 Glazounov
GLAZOUNOV is one of t.he comparatively few musicians whose uneventful career has known none of the hardships either of poverty or of the struggle to obtain a hearing which so many of the great masters had to face. Comfortably endowed with the best of the world's blessings, he has enjoyed not only recognition of his work, but the friendship and esteem of distinguished colleagues both at home and abroad. His music is in many ways more like that of the classical models than of his own compatriots, though he has at command when he chooses something of the barbaric gorgeousness, something of the strongly national feeling, which is so marked in the music of Ids countrymen, Rimsky-Korsakov and Borodin, to select two of the best known.
The violin Concerto in A Minor was com. pleted at St. Petersburg in 1904 and published in the following year. It is dedicated to the eminent violinist Leopold Auer. There are three distinct movements of contrasting character, but they follow one another without a break, giving an impression of one movement of changing moods. It opens in moderate time, and the solo violin enters immediately with a broad flowing melody which has a large say in the first section. There are several changes of mood and of time before the actual second movement appears in a slower triple time. The theme of this will be recognized as closely akin to the opening. Striking use is made of the harp in the accompanying figures of this section. Again, here, the movement passes through varying moods, and a brilliant cadenza for the solo instrument leads straight into the lively last movement. The soloist begins it at once with a sprightly figure in double notes, and the movement grows in energy and brilliance to the end.