ROGER CLAYSON (Tenor)
The LONDON STRING PLAYERS
Leader, JEAN POUGNET
Conducted by J. HERBERT MENGES
ORCHESTRA

THE first movement of this fresh and wholesome music of Dvorak's begins with a rather sad little fragment of tune ; it makes way very soon for a brisk and energetic figure, after which the first melody returns. The second movement is a waltz; the first strain is lively and rather energetic, and the alternative section, in the middle, more tender in character. The third movement, a Scherzo, is very lively, and its chief tune is eloquent of good spirits. In this move. ment, too, there is a calmer section, which interrupts the laughter of the first tune more than once. The fourth movement is a plaintive song which the first violin begins and in which the other instruments share, and the last is again very vivacious and light-hearted in character. There is a hint of mischief in the way in which the last note of each bar, in the chief tune, is given a vigorous punch.

By J. EDGAR HUMPHREYS
Organist and Director of the Choir, St. Mary-le-
Bow, Cheapside
Relayed from St. Mary-le-Bow

(From Birmingham)
Order of Service :
Hymn, ' Ye Watchers and ye Holy Ones'
(English Hymnal, No. 519)
Intercessions
Psalm 23
Lesson, St. Luke xxiv, 3f Magnificat
Easter Collects
Hymn, ' Ye Choirs of New Jerusalem' (English
Hymnal, No. 139)
Address by the Rev. A. COMBE (of Emmanuel
Church, Wylde Green)
Hymn, ' The strife is o'er, the battle done
(English Hymnal, No. 625)
Blessing

(From Birmingham)
An Appeal on behalf of the Social Work of the Birmingham White Ribbon Bands by Mrs. WILLIAM A. CADBURY
Contributions should be sent to [address removed]

(From Birmingham)
THE BIRMINGHAM STUDIO AUGMENTED
ORCHESTRA
(Leader,
FRANK CANTELL)
Conducted by JOSEPH Lewis

PROBABLY the best-known of Balfour Gardiner's orchestral pieces, this 'Shepherd Fennel's Dance' is dedicated to Sir Henry Wood. It appeared in 1910. The composer tells us that it is a description in music of a passage from Thomas Hardy's 'Wessex Tales.'
'The shrill tweedle-dee of the boy fiddler has begun, accompanied by a booming ground-bass from Elijah New, the parish clerk, who had thoughtfully brought with him his favourite musical instrument, the serpent the dance whizzed on with cumulative fury, the performers moving in their planet-like courses, direct and retrograde from apogee to perigee, till the hand of the well-kicked clock at the bottom of the room had travelled over the circumference of an hour.'