(From Birmingham)
THE WIGSTON TEMPERANCE BAND
Conducted by CHARLES MOORE
PARRY JONES (Tenor)

Conducted by the Rev. Howard Partington (of Addison Street Congregational Church)
Relayed from the Albert Hall, Nottingham
Order of Service
Introit
Lesson
Hymn, 'Give our God immortal praise' (Congregational Hymnary, No. 10)
Prayer
Address
Hymn, 'Saviour, again to Thy dear Name we raise' (Congregational Hymnary, No. 257)
Benediction
Vesper, 'Grant us Thy peace'

WEATHER FORECAST, GENERAL NEWS BULLETIN

CLAIRE CROIZA (Singer)
FRIDA KINDLER (Pianoforte)
HANS KINDLER (Violoncello)
The great Handel left such an enormous volume of smaller pieces, in addition to the imposing list of his big works, that it is still possible to produce many which no one knows. There must be many instrumental pieces and songs still hidden in private libraries and other forgotten corners. And, as often as we hear a new instance of his noble, dignified melody, and of the bright good spirits which ho knew so well to combine with it in all these slighter pieces, wo realize more fully how groat a giant of music ho was.
BEETHOVEN left five Sonatas for Violoncello and Pianoforte, two belonging to his early period, one in the middle of his career, and two quite late works. This is the second of the first two, and although so early a work, has already something of the stem mood which Beethoven so often shows. Like the others, it is unusual in form, and it looks rather as though in all those five Sonatas Beethoven had wanted to make the utmost use of the broad singing qualities of the violoncello.
The first movement, quite short, is a. very beautiful example of the way in which interest and variety can be won from the ordinary scale. The movement is almost entirely built up on scales in the two instruments. It leads straight into a bustling quick movement, still in minor, a fairly long movement and in the orthodox form with the two chief tunes which are set out developed, and then repeated. Then, when the listener thinks that the movement has come to an end, there is a further section, more elaborate than the usual Coda, almost like a fresh develops ment. It is a regular trap for the unwary pianist who has not rehearsed his part, as the movement apparently finishes at the end of a page with a full close.
The next movement ia a light-hearted Rondo in the major.