From the Rivoli Theatre

(From Birmingham)
THE BIRMINGHAM STUDIO ORCHESTRA
Conducted by FRANK CANTELL
L'ABEILLE is the best known piece by one
Franz Schubert. He was so modestly anxious that there should be no con. fusion between his work and that of his illustrious namesake that he allowed his name to appear on programmes as Francois Schu bert, much to the indignation of an anonymous listener who wrote to protest against this ' Frenchifying ' of the great Schubert's German ' Franz.'
This Schubert was a distinguished violinist who served for fifty years in the Royal Orchestra at Dresden, retiring, after some years as leader, on the fiftieth anniversary of the date of his joining. His wife and daughter were both opera singers and both made successful appearances in London on the stage and on the platform of the old ' Monday Pops.' ORCHESTRA Fantasia, ' The Works of Moussorgsky

(From Birmingham)
' Flicker and Flip '—A Tale of a Tail, by Mabel France
ARTHUR LINDSAY will Entertain
'Jobey's Cat gets Lost,' by T. Davy Roberts
Songs by MARJORIE HOVERD (Soprano)

MUNRO and MILLS
(Syncopated Piano Duets)
RONALD GOURLEY (Whistling Solos)

EDITH FURMEDGE (Contralto) AUBREY MILLWARD µ(Baritone)
THE WIRELESS MILITARY BAND
Conducted by B. WALTON O'DONNELL Kos. 41, 36, 48, 45

Pre-Dissolution Series
Conservative Address
By the Right Hon. Winston Churchill M.P., Chancellor of the Exchequer

by BEATRICE HARRISON (Accompanied by the COMPOSER)

(From Birmingham)
The BIRMINGHAM STUDIO AUGMENTED
ORCHESTRA
(Leader, FRANK CANTELL)
Conducted by JOSEPH LEWIS
Overture, ' Much Ado About Nothing ' Coronation March and Hymn Symphonic Poem, ' Hamlet Solemn March
March Rhapsody on Original Themes
A S everybody knows, Sir Edward German first
A made his mark by incidental music wiitten for the theatre, particularly for Shakespeare plays. The Overture, Much Ado About Nothing, along with many other attractive numbers, was composed for a production of the play, in 1898, by the late Sir George Alexander at the St. James' Theatre.
HAMLET made its first appearance at the Birmingham Festival of 1897. The composer tells us that he has endeavoured to depict the character of Hamlet as stern and relentless yet, in his moods, alternately hesitating and impetuous. The influence of this character may be said to dominate the entire work.
Hamlet's love for Ophelia is overpowered by his doubts, his distrust of the Queen, and his determination to avenge the murder of his father ; his fury reaches its height as he stabs the King.
The poison which Hamlet has received from the weapon of Laertes now begins to take effect, and hence to the end the music is descriptive of the ebbing away of his life.