Directed by Joseph Muscant
From The Commodore Theatre, Hammersmith

Joseph Muscant, the Director of this very popular orchestra, was an 'infant prodigy': he began studying the violin when he was six, and appeared at the Queen's Hall at the age of nine. When he was thirteen he appeared on the variety stage in a musical act. He has also, in the realm of concert music, appeared at the Aeolian and Wigmore Halls. He first conducted a cinema orchestra at the age of eighteen: it contained twenty-two players.

Muscant was later the first conductor in England to play on a cinema stage with an orchestra of over a hundred. In the days of the silent screen, he compiled several of the scores used for 'super' films: he is a brilliant and versatile conductor, as much at home in jazz as in classical music.

He first broadcast with his orchestra in 1923, from Manchester. Louis Stevens, who has been leader of this orchestra for the last five years, is only twenty-one years old. He was placed first in the open scholarship competition for the Guildhall School of Music at the age of thirteen; he has studied under Isolde Menges.

Sydney Grove, the tympanist-drummer of the orchestra, learnt music under Captain H.E. Atkins, at Kneller Hall, and on leaving the service was engaged by Sir Dan Godfrey for his Municipal Band. He has been with Joseph Muscant for nine years; it is he who is responsible for many of the 'effects' in the orchestra, such as whistling, bell solos, etc.

Other prominent members of the orchestra are Harold Vorzanger, the pianist, who has been solo pianist to De Groot at the Piccadilly Hotel, at the Pump Room, Bath, and at the West Pier, Brighton, and has for two years toured the U.S.A. as a solo pianist; and Harker, the oboe player, who started as a boy in Bradford, came to London and joined the Grenadier Guards Band, in which he was principal oboe for twenty-two years, ending up in 1927 as Band Sergeant.

At THE ORGAN of THE REGAL, MARBLE
ARCH

Mr. E. L. GRANT WATSON : An East Anglian
Farm '

BARBARA COUPER
'Ong Pensiong'
NOSMO KING and PARTNER
The Black-faced Comedians
LESLIE HUTCHINSON
Songs at the Piano and Piano Solos
CICELY COURTNEIDGE
Comedienne
THE B.B.C. THEATRE ORCHESTRA, under the direction of S. KNEALE KELLEY
The programme will be joined by musical links
Vaudeville Criticism of the Week by HERBERT FARJEON

(A Sequel to the Sing-Song, ' Nuts and Wine,' broadcast on December 12, 1931)
FREDERICK GRISEWOOD (Baritone)
THE WIRELESS MALE CHORUS
At the Pianoforte, ERNEST LUSH
Conducted by CYRIL DALMAINE
Produced by ALAN HOWLAND

WEATHER FORECAST, SECOND GENERAL
NEWS BULLETIN

THE B.B.C. ORCHESTRA
(Section E)
Conducted by VICTOR HELY. HUTCHINSON
THE one-act opera Fête Galante was produced at the Birmingham Repertory Theatre in June, 1923; the B.N.O.C. afterwards gave it at Covent Garden and in many theatres throughout the country. A fantasy of delicate beauty, basod on a romance by Maurice Baring, it has as sub-title-a Dance-Dream in one Act. Its climax is a deeply moving tragedy.
DAME ETHEL'S other piece appeared originally as an Intermezzo in her merry comic opera Entente Cordiale, in which farcical situations are evolved from the typical British soldier's ignorance of the French language. The two melodies from which it is made are both French folk-tunes, the first a Burgundy Vintage melody, the other in minor, a tune from Brittany. The opera was first produced at the Royal College of Music in July, 1925, and had its first public performance, under the composer's direction, at the Theatre Royal, Bristol, in October, 1926. It is a ballad opera somewhat on the lines of her Boatswain's Mate, and has no serious intention. This intermezzo, light in character, begins with a sense of real gaiety with the first rhythmic melody. The winds have it alone. It is the strings which introduce the other, a more wistful tune, and then the full orchestra gradually takes them both up. The piece needs no further explanation, and the two melodies are played off against each other in a most effective way.
THIS work by Victor Hely-Hutchinson , is in reality a series of Variations, of which the last three are so much freer in design than the others that they have been given separate titles.
The 'Variations' section consists of a theme and five variations, all of which adhere fairly closely to the shape of the theme, and are mostly simple and pastoral in character.
The Intermezzo, which follows, is graver and more intense, while the Scherzo is a lively dance with a little figure running right through it.
The Finale reverts more nearly to the spirit of the theme, but with an added depth and seriousness. After a short Coda, jthe work comes to a quiet close.

AMBROSE and his ORCHESTRA, from THE MAY
FAIR HOTEL