Relayed from the New Pavilion, Bournemouth
(No. XXIX of the Thirty-fourth Winter Series)
The Bournemouth Municipal Augmented Orchestra
Conducted by Sir Dan Godfrey (First Performance)

For this new work the composer has furnished the following explanation:
'In this Fugue there are two contrasting themes-the main theme with its counter subject and a second theme which is used in all the episodes. At the beginning of the work each group of strings announces the main theme and its counter subject in turn. After this, the second theme is given out by the first viola, taken up by the first violin and then all the second violins. Tho main theme now starts a series of adventures, and at length reaches a climax, shedding its counter subject in doing so. It is just subsiding in the double basses when the second theme, which has kept calm and unchanged all this time, superimposes itself by means of the violins and violas in octaves and thus has the last word. After this, the main theme reappears in chastened mood, there is a short coda, and the work is at an end.'
(Soloist, Isidor Goodman)

(From Birmingham)
' Queen Carmine's Cookery Class,' a Play by NORMAN TIMMIS
Songs by GEOFFREY DAMS (Tenor)
HELEN ALSTON will Entertain

MUNRO and MILLS (Syncopated Piano Duets)

'Derelicts'
By George Calderon
(From Birmingham)
George (unmarried) - age 52
Agatha (unmarried) - age 47
A Mother - age 50
Uncle (a retired Admiral)
Arthur (a Naval Officer) - age 22
The Girl - age 19
A Hotel Garden on a Summer Night in the light of a full moon

'Catherine Parr' or 'Alexander's Horse'
By Maurice Baring (From Birmingham)
King Henry VIII
Catherine Parr
A Breakfast Chamber in the Palace in London.
Incidental Music by The Midland Pianoforte Trio.

(From Birmingham)
THE MIDLAND STRING ORCHESTRA
Conducted by JOSEPH Lewis
IN these Variations for String Orchestra the tune is first very simply presented, and then u flowing variation follows in the same quiet, meditative spirit. A lively and vigorous one succeeds ; beginning strongly, i makes way for a quiet little reminder of the tune, in the middle. The next variation is in waltz measure, dainty and gracious, and a more sprightly rhythm comes after it. Then there is a change to minor, with a sombre version of the tune beginning in the bassos, and the piece comes to an end with a brisk two in the bar, worked out at rather more length than the earlier variations.