Special Readings and Prayers Hymns
Take up thy Cross, the Saviour said (A. and M. 263)
Just as I am without one plea (A. and M. 255)

Cortot (pianoforte) and The International String Quartet: Quintet in F minor (Franck)
The Lener String Quartet: Nocturne
(Borodin)

At the Organ of The Trocadero Cinema,
Elephant and Castle
Overtu

Relayed from
The Granada, Walthamstow

by 0. H. PEASGOOD
From The Concert Hall,
Broadcasting House

The Vienna Philharmonic Orchestra, conducted by Clemens Krauss : Symphony No. 3, in F, Op. 30 (Brahms)- i. Allegro con brio; 2. Andante; 3. Poco allegretto; 4. Allegro

by MARGARETA HARVEY-SAMUEL
Margareta Harvey-Samuel comes from Copenhagen. She first gave a piano recital at the age of four years and won a scholarship to the Copenhagen Conservatoire soon afterwards. Her chief professor there was Madame Johanne Stockmarr. After appearing at several public concerts with great success, Miss Harvey-Samuel came to London and studied under Leonard Borwick until his death, when she continued her studies under Tobias Matthay. At present she is studying under Egon Petri.
Miss Harvey-Samuel played at the Proms during the seasons of 1923-4 and has given a number of recitals in London and broadcast on several occasions both with orchestra and in recital. In addition to her achievements as a pianist, Miss Harvey-Samuel is an accomplished organist ; she has also taken a degree in Philosophy at the University of Copenhagen.

Leader, BERTRAM Lewis
Conductor, RICHARD AUSTIN
ANTONI SALA (violoncello)
Relayed from
The Pavilion, Bournemouth One of the most interesting characteristics about John Ireland is his reticence and restraint. He appears to compose only when the spirit really moves him, and then the product of his inspiration goes through a long process of polishing and refining.
'Mai-Dun', one of Ireland's' few large orchestral works, appeared in 1921. It was inspired by the prehistoric camp known as Maiden Castle, near Dorchester, and the music suggests the nobility and dignity of a bygone age.
If the tragic C minor Symphony was a great success on its first performance, the D major with its happier and more idyllic feelings, was an even greater one. The enthusiasm it aroused made it necessary for the light-footed and graceful third movement to be repeated. And this is a curious fact, because today the Second Symphony is often found by new Brahms converts to be the least approachable and expressive of the four symphonies. Yet although conceived on just as big a scale as the C minor Symphony, the texture of the music is actually very much clearer, the melodies more cantabile in character, and the whole spirit of the music brighter-it has been called Brahms's ' Pastoral Symphony.

Leader. FRANK THOMAS

including Weather Forecast and Bulletin for Farmers

J. A. SCOTT WATSON (Professor of Rural
Economy, University of Oxford)
Professor Scott Watson , who has been running a mechanised farm for the past three years, will talk this evening about the future of mechanised farming in the light of his experience.
He is keenly interested in the Young
Farmers Club Movement, and is Chairman of the Competitions Sub-Committee of the Federation. He is part author of Watson and More's ' Agriculture ' (students' text-book) of which a third [edition was published in 1933, and of other books and articles.

Bach Celebration under the direction of C. SANFORD TERRY , Litt.D., Mus.D., LL.D. (Hon Fellow of Clare College,
Cambridge)
CHAMBER MUSIC
AMBROSE GAUNTLETT (viola da gamba)
ERNEST LUSH (harpsichord)
Sonata No. 3, in G minor
1. Vivace ; 2. Adagio; 3. Allegro

THE B.B.C. ORCHESTRA
(Section D)
Led by LAURANCE TURNER
Conducted by Sir HAMILTON HARTY
IRENE KOHLER (pianoforte)
This Symphony in C major (K.338) was one of three which Mozart wrote at Salzburg in 1779-80, the period of his service with the Archbishop. In 1781 occurred the celebrated incident of the kicking of Mozart by the Archbishop's steward, in consequence of which he left Salzburg for ever.
This delightful work, one of the finest of all Mozart's earlier symphonies' all air and fire ', as one critic has described it-was long unaccountably neglected, but is now an established favourite. The champagne-like sparkle of the first movement, the grace of the second and the fire of the third are unforgettable.
Szymanowski received his musical education in Warsaw and began his career as a composer by following in Chopin's footsteps. But although he has never quite lost his fondness for national and Chopinesque forms-he published a fine set of mazurkas quite recently-he soon launched out in large-scale works on lines which Chopin never attempted.
He was in his early days a great admirer of Richard Strauss , but his music has never been particularly Straussian. On the contrary, it has always had a very definite character of its own. But Szymanowski acquired from Strauss a love of elaborate texture, richly orchestrated, which tends to make his scores confusing to an ear accustomed to follow individual strands of melody. Szymanowski does not intend his music to be listened to as one listens to Bach, however. He gives you a rich tapestry and asks you to sit back and enjoy that, not to peer closely into the details of the pattern.

including Weather Forecast and Forecast for Shipping

in 'The April Revue'

SYDNEY KYTE AND his BAND
Relayed from The Piccadilly Hotel