Mrs. D. Portway Dobson

relayed from the Carlton Restaurant.

including the month's work at the Station.

The Station Director

Relayed from the City Hall.
Relayed to Daventry Experimental Station
Harold Williams (Baritone); Isabel Gray (Pianoforte)
The Cardiff Station Symphony Orchestra
Conducted by Sir Henry J. Wood
Orchestral items will be as follows:

The general title of Bach's six 'Brandenburg Concertos', comes from the name of a certain prince or Elector of Brandenburg, who was a great music lover. He asked Bach to write six Concertos, and Bach completed the commission in 1721. When the composer died, the works were included in a parcel of other music and valued at about a couple of pounds!
The fourth Concerto, which is not quite so frequently heard as are some of the others, is written for a little solo group of two Flutes and a Violin, which is 'played off' against the orchestra all through the work.
There are three Movements - a quick one, a graceful slow one, in which the Flutes hold the melodic line, and a magnificent fugal Finale.

This Symphony in F is now just over forty years old. Its first performance was given in Vienna, under Richter (afterwards so well known in this country), and after each movement there was excited applause - and also hissing. Richter nicknamed this symphony 'The Heroic', in imitation of the title of Beethoven's third symphony, and the name has some warrant in the feeling of the first and last movements.
There are four Movements - a quick big-spirited one, a gentle song-like one, a romantically melancholy one, and another quick and vigorous one.
Many good judges consider this Brahms' finest orchestral work.

Sir Walford Davies
S.B. from London.

(Continued)
Isabel Gray and Orchestra

Dohnanyi, one of the Hungarian composers of today, is fond of the Variation form, in manipulating which, he has a particularly happy touch.

The spirit of these Variations is indicated at the head of the score, where Dohnanyi has written: 'For the joy of the friends of humour and the vexation of the others'.

The work is for Pianoforte and Orchestra

The former's part is described as - 'obligato'- that is, it is not quite so predominant a partner as in the usual Concerto, though it has plenty of brilliant and effective work to do. The Orchestra includes a goodly band of extra percussion instruments-Bass Drum, Cymbals, Triangle, Bells, and Xylophone, besides a Celesta.

The tune Dohnanyi has chosen for treatment is that of an old French nursery song, 'Ah, vous dirai-je, Maman' (a theme on which Mozart wrote a set of keyboard Variations). It is treated freely, being only slightly discernible in some of the variations.

There is a portentous Introduction, very fully scored, in amusing contrast to which copies the Theme, in bare octaves on the Piano, each section of it being repeated, with a plucked String accompaniment.

Variation I (A little quicker). The Strings have the Theme, Piano decorating it. Glides for Piano and Harp conclude the section.

Variation II (Resolute). Horns have a new martial Theme. Piano and Woodwind answering. The original tune is scarcely to be found.

Variation III. The Piano is very prominent, the Strings taking a modest part.

Variation IV (Moderately quick). Piano and Woodwind (in octaves) share this, the latter consisting of the highest and lowest-toned instruments only-Flutes and Piccolos, Bassoons and Double Bass.

Variation V (Quicker). An imitation of a musical-box. Bits of the nursery song are heard on the bells.

Variation VI (Still quicker). The Piano corns cates brilliantly, against Wind arpeggios.

Variation VII (In strict time). A Waltz theme appears, first on the Piano and then on the Strings. The nursery tune appears for a moment on the Violins in two-time, against the three-time-of the dance.

Variation VIII (Moderately quick). A March.
The Lower Strings and Drums keep up a basis part consisting of the keynote and the fifth above it.

Variation IX (Very quick). A playful Variation in a minor key, the Bassoon having a skittish version of the nursery tune, while the Kettle drum takes over the bass established in the last Variation. The Violins play with the stick of the bow, and the Xylophone joins in the gaiety.

A short piano passage in calmer mood leads to:
Variation X (Not too slow). A part of the original tune is repeated over and over in the bass, while the other instruments weave harmonies above it.

The speed increases, leading up to:
Variation XI (With dignity). A hymn-tune like version of the melody is played by Wind and Strings, the Piano, Brass and Harp interjecting comments here and there.

This goes straight into:
the Final Section (Quick, spirited). This is a fugue.
Oboes and Bassoons start with a leaping theme. The fugue subject is introduced by Violas and is later combined with the leaping theme.

A climax leads to a final statement of the! nursery melody in simple form, and a gay Coda rounds off the work.

(10.35 Local Announcements)

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