(to 18.15 app.)

Relayed from Cathedral Road Presbyterian Church
Order of Service for Harvest Festival
Invocation, followed by Lord's Prayer
Hymn No. 21, 'Praise, my soul'
Reading
Hymn No. 619, 'Come, ye thankful people, come'
Prayer
Hymn No. 618, 'We plough the fields'
Sermon: The Rev. W. D. Davies, M.A., B.D. (Oxon)
Hymn No. 29, 'Now thank we all our God'
Benediction

Appeal on behalf of the Church Army Training Hostel for Welsh Girls going Abroad.

National Orchestra of Wales
Leader, Albert Voorsanger
Conducted by Warwick Braithwaite

Dvorak once wrote three Movements which he designed for a Symphony. Later, he issued them as theme Overtures, entitled respectively Nature, Carnival and Othello.
Nature opens with an introduction, and then the first main theme is heard on the Clarinets, beginning with a repeated motif of two notes. This subject is found again prominently in the Othello Overture, and momentarily in Carnival.
Two or three other tunes appear, nearly all in the original key, before the dance-like second main tune appears in a fresh key on the Strings, with a continuation, more serious in style, played by Violins in octaves, accompanied by Trombone chords.
The last piece of material is one that the composer uses a good deal during the piece - a Wood-wind phrase that trips lightly down the scale.
All the main ideas are worked up in the course of the Overture, and just when we are coming to a peaceful ending, there is a very loud outburst. The quiet mood is quickly resumed, and the work dies away with a reminiscence of its first melody.

Constance Willis

Grieg's Overture In Autumn, we may take it, is an impression of scenes and. moods at the fall of the year in Norway, Grieg's native country. The music is richly coloured, and its rhythms are often exhilarating.
There is an Introduction (slowish) in which Strings and Wind call to each other, the melody having a characteristically Griegian shape. This leads into a quick and agitated portion, Strings and Wind having a dozen bars of urgent minor music, that brings us to a still more furious pace and to the first main tune, with its insistent prancing rhythm.
A quiet bit leads to the second main tune, which Clarinets and Horns share. This is a graceful rising theme, with a cheery lilt at the end of it. A naive, folk-song-like tune in the Strings, that soon follows, is a sort of subsidiary theme.
On this material, with many dainty little episodes, the work is built up.

(to 22.50)