Relayed from the Philharmonic Hall Conducted by Sir HAMILTON HARTY Solo 'Cello. Senor GASPAR CASSADO
BERLIOZ'S ' Symphonic Entr'acte represents a scene in ' a virgin forest in the neighbourhood of Carthage.' Naiads appear, and bathe. The hunt is heard in the distance, gradually getting nearer, and the naiads vanish. Various hunters cross the scene. A storm approaches. While the storm increases, Ascanias, son of Ӕneas, gallops past, followed by other huntsmen. The storm approaches its height, and night falls. Dido and Æneas, hunting, arrive and take refuge in a cave.
Wood Nymphs appear, singing, also
Fauns and Satyrs, all of whom dance a grotesque dance in the darkness. A little stream in the rocks becomes a noisy cataract. Lightning strikes a tree and, finally, the whole scene is obscured by dense clouds. The storm at last abates and the clouds scatter.
SO familiar is this Symphony to musical folk that they refer to it among themselves as ' the G Minor Symphony,' without specifying the Composer, or as Mozart's G Minor,’ without specifying the Symphony. It need hardly be said that this is a familiarity born of love for the music. The G Minor is one of the perfect things in the musical library.
Of the four Movements, or separate pieces, the FIRST is quick and bustling and full of restless energy. But one thing noticeable, all through this Symphony, is that Mozart has used in it no Drums, nor any of the heavier Brass. Also there are no Clarinets. The Symphony was written just before the Clarinet became a recognized orchestral instrument.
The SECOND MOVEMENT comes as a beautiful, restful relief after the agitation of the First.
The THIRD MOVEMENT is a cheerful, rather ceremonious Minuet.
The FOURTH MOVEMENT is the sweeping, rushing Finale, whose speed never slackens, though there are moments of tranquillity.
THE 'Cello Concerto belongs to Schumann's later years. It was one of the first pieces lie wrote in Diisseldorf, in which city he had settled as conductor. If the solo part does not make the dazzling display with which some of the older Concertos used to gain applause, there is yet plenty of fine declamation in the music, and it has all the gracious sentiment we expect from the composer. The slow Movement especially is a lovable piece of work, with its long-drawn 'Cello melody. There are three concise Movements, but all are linked up, so that there is no break from beginning to end.

THERE are twenty-seven Variations and a Finale. The theme, like all good subjects for variation, has several well-marked motifs, any of which may be dwelt on and expanded at the composer's pleasure. It is in three sections, the first.and last (of seven bars) alike. Features which are used in development are those in the first two bars-the rise and fall ; in bars 3 and 4—a variant of this figure, with a different rhythm ; in the remaining three bars of this opening section, with a third rhythm, but keeping the rise-and-fall
. movement; and in the middle part of the theme, with its increase of tone as the notes climb up the scale from C to the high A.