DOROTHY GLOVER (Soprano)
VERNON BATLEY (Bass)
WILLIAM BUCH (Pianoforte)

Relayed from THE PAVILION, BOURNEMOUTH
THE BOURNEMOUTH MUNICIPAL AUGMENTED
ORCHESTRA
Conductor, Sir DAN GODFREY
THIS workis a tribute of gratitude from Brahms to the great violinist Joachim, for whom it was specially written, and it was he who produced it on Now Year's Day, 1870, at a Gewandhaus Concert in Leipzig. Joachim always regarded it as his own, and played it constantly for many years; his interpretation of i t was very broad and big, as Brahms no doubt intended. There are the usual three movements, of which the first is the longest and most elaborate. The oboe begins the second movement with a very simple little melody, and the whole movement is quiet and contemplative. The last movement is a vigorous rondo which the soloist begins at once with the principal theme.
ON the subject of this Symphony, Tchaikovsky expresses himself very fully to his friend Madame von Meek, to whom the work is dedicated He explains that the introduction is the germ, and, indeed, the principal idea of the whole work. The theme, which begins with a reiterated note in an insistent rhythm, Tchaikovsky tells us is Fate, the inevitable force which checks our aspirations towards happiness. The main body of the first movement, too, expresses this overpowering force and man's submission and his grief. The sense of despair grows in strength and poignancy until the writer turns from reality to lose himself in dreams. But the theme of Fate from the beginning is heard again, and the music means that life is, after all, but a continual struggle between the bitterness of truth and the fugitive dreams of happiness. In the second movement the melancholy which is presented is that of recollection, the sadness of old-time memories which leave neither courage nor desire to start afresh. The third movement i s capricious rather than illustrative of any definite mood, neither joyous nor sad.

At THE ORGAN of The BEAUFORT CINEMA
Relayed from WASHWOOD HEATH,
BIRMINGHAM

SCHUMANN'S SONGS
Sung by EVELYN ARDEN and GEORGE PARKER

Mr. MICHAEL SADLEIR

Sir DANIEL HALL , K.C.B., F.R.S.. Chief Scientific Adviser, Ministry of Agriculture

A Musical Comedy, adapted for broadcasting
English Stage Version by FRED THOMPSON
(From the book of Herman Haller and Rideamus)
Lyrics by ADRIAN Ross , ROBERT C. THARP and DOUGLAS FURBER
Music by EDWARD KUNNEKE
Revised and Produced by GORDON MCCONNEL

WEATHER FORECAST, SECOND GENERAL
NEWS BULLETIN

Conducted by B. WALTON O'DONNELL
SIR WILLIAM STERNDALE
BENNETT represents the third generation of music in his family; his father and grandfather were also musicians. Ho had a distinguished career and, as Principal of the Royal Academy of Music and Professor of Music at Cambridge, was naturally one of the leading figures in the English world of music of his own day. While still a young man he played a pianoforte concerto of his own in an Academy concert at which Mendelssohn was present, and that was the beginning of a friendship which lasted until Mendelssohn died. He and Schumann both held out the rosiest promises for the young man's career as a composer, and made him welcome when he paid a visit to Germany. But his routine work as teacher and professor left him scarcely any time for composition, and he wrote little in later years. Mendelssohn included this Overture in one of the Gewandhaus Concerts conducted by himself, and Bennett, in another concert, played the pianoforte concerto with triumphant success. Bennett's music has, to a large extent, dropped out of favour, but as listeners will hear in this Overture, descriptive of water nymphs, it has a charm and grace of its own.

Roy Fox and his BAND, from MONSEIGNEUR