From page 51 of ' When Two or Three '

A. G. STREET

French Dialogue-I
' Jour de Marche '
E. M. STÉPHAN and CAMILLE VIÈRE

At The Organ of The Trocadero
Cinema, Elephant and Castle

Leader, Frank Thomas
Haydn Carrington (tenor)
ORCHESTRA
Selection, The Duchess of Dantzig Ivan Caryll
On the Moonlit Terrace Cazabon Air de Ballet, Toytime R. Howgill
HAYDN CARRINGTON
Sound an alarm Handel I think .....Guy d'Hardelot Phyllis has such chirming graces
Anthony Young , arr. Lane Wilson
ORCHESTRA
Waltz, Petersburg.............. Lanner By the Tamarisk Eric Coates Pizzicato (Sylvia Ballet) ....... Delibes
HAYDN CARRINGTON
God breaketh the battle Parry Elcar. ore ............ Coleridge-Taylor
ORCHESTRA
Selection, Merrie England
Edward German
(From Cardiff)
, at 1.0
As an alternative to the Scottish Regional programme for Schools, from 2.0 to 3.0 Scottish National will radiate the Regional Programme. Details at foot of page.

RECEPTION TEST
2.5 (-2.25) British History-I
RHODA POWER: Westward Ho ! '
2.30 (-2.55) Biology
' How Life is Lived'—1
WINIFRED C. CULLIS, C.B.E., D.Sc., Professor of Physiology, London (Royal Free Hospital) School of Medicine for
Women : ' Food and its Digestion '

Conductor, JULIUS HARRISON
MOZART ALLAN (violoncello)
Relayed from
The White Rock Pavilion, Hastings ATTEMPTS have been made at one time or another to put Berlioz's early opera, Benvenuto Cellini, into the repertory, but it has never really survived its initial failure. Berlioz must have recognised the hopelessness of expecting better luck with it, for, with the idea of preserving at least some of the music, he composed this brilliant popular overture on themes from the opera, mostly taken from the carnival scene.
THE ROYAL WATER MUSIC was composed by Handel to entertain King George I on the occasion of a fete given on the Thames at which the royal barge was rowed in procession up the river to Chelsea. Handel served the English king in two capacities, first in Hanover where George was Elector, and later in England, when he was mude king.
Fantastic Dance Delias
DELIUS'S 'Fantastic Dance ' was completed in 1931, published only last year, and played for the first time in the Festival of British Music at the beginning of this year. Capricious, whimsical, and rich in fantasy, it takes its place with the best of Delius's shorter pieces.
Symphony No. 4, in G (Op. 88)
Dvorak i. Allegro con brio; 2. Adagio; 3. Allegro Grazioso ; 4. Allegro ma non troppo
AFTER a highly successful visit to England in March, 1884, and another later in the year, Dvorak was assured of the esteem and affection of the English people. When he came again in 1890 he was naturally invited to conduct at a concert of the Philharmonic Society. For this occasion he had brought the score and parts of a new symphony which was exceedingly well received. This was the fourth symphony (Op. 88 in G), and as it was subsequently published in London by Novello, it rapidly made its way into every concert hall of importance in this country. It has been said with some truth that the encouragement Dvorak was given in England very favourably influenced his subsequent development. He came again and again, and no musician of his time was more welcome.

(18.00)Weather Forecast, First General News
Bulletin and Bulletin for Farmers

BRAHMS'S PIANOFORTE SONATAS
Played by FRANZ OSBORN
Sonata in F sharp minor, Op. 2 (concluded)
2. Andante con espressione; 3. Scherzo : Allegro ; 4. Finale : Sostenuto, Allegro non troppo e rubato
THROUGHOUT his life Brahms composed music for the pianoforte, particularly in the very early period and again towards the end of his career. Between the music written at these two periods there is a wide difference. It was said at one time that the one fault of Brahms's pianoforte works was that they were not piano music. In those days he thought in terms of the orchestra even when he was composing for the piano, but his later works, particularly the series from Opus 1 16 to Opus 119, are amongst the finest pianoforte music in the repertory. It would almost seem that until he had exhausted his obsession for orchestral treatment the true technique and quality of the pianoforte escaped him. Like most composers, Brahms's first works were for the piano, and of his first five published compositions four are for this instrument. In this week's Foundations the Sonatas Op. i, Op. 2, and Op. 5, are down for performance, so that comparison between the early and the late is not offered. In all three he was still treating the piano as an orchestra, and the difficulties presented to the soloist are those of realising an orchestral effect.

GERALD HEARD

JOHN MORGAN

A discussion between Lt.-Colonel Sir VIVIAN HENDERSON , M.C., M.P., and CYRIL BURT , Professor of Psychology in the University of London

(20.00)

(21.00) Weather Forecast, Second General
News Bulletin

OLIVER BALDWIN : Films Worth Seeing

(Section D)
(Led by LAURANCE TURNER )
Conducted by ANTON WEBERN
AT an age when Beethoven had given the world one symphony, Schubert had already produced eight, the first appearing in 1814, in its composer's eighteenth year. This fourth was finished in the spring of 1816, though it was not until 1849 that it was first played-by the Euterpe Musical Society. Its title of ' Tragic ' was not given to it till later, and though it is not wholly appropriate, the symphony contrasts strongly with the joyful mood of its predecessors.
GUSTAV MAHLER, who was born in 1860 and died in 1911, belongs to that generation of symphonic composers who loved to work on a huge canvas. His nine symphonies, with the notable exception of No. 4 in G, are all scored for a full modern orchestra which is used with the utmost variety of effect. A characteristic of Mahler's handling of the orchestra is his frequent dividing up of the strings into several parts, thus forming a very rich and sonorous texture. In fact, all the instruments are used with considerableindependence.
The Seventh Symphony, which shows the composer at the height of his powers, has no definite programme, although the music is nevertheless intensely subjective. We know that Mahler aimed at making all his symphonies the expression of his own philosophic and religious ideas. The second and fourth movements, both entitled ' Nachtmusik ' (Serenade, or Night Music) are full of simple expressive melody and are scored with exquisite delicacy. The fourth, which is rather passionate and amorous in mood, includes parts for guitar and mandolines.

Read by PATRIC CuRWEN
(Monday, April 23, was the anniversary of Rupert Brooke 's death)

THE CASANI CLUB ORCHESTRA
Directed by CHARLES KUNZ
Relayed from Casani's Club
(Shipping Forecast, on Daventry only at 11.0)