From page 36 of ' When Two or Three '

At the Organ of The Paramount
Theatre, Liverpool
Despite many ambitious attempts the jazz idiom has not proved very fruitful in its application to extended compositions written for a more serious purpose than ephemeral entertainment.
Duke Ellington with his innumerable short pieces written specially for his own orchestra, has found the miniature tone poem to be the ideal medium.
Undoubtedly Duke Ellington is the most original of all his contemporaries. Not only are his melodies and rhythms distinctly individual and full of variety, but his feeling for harmonic effect is extremely keen and sensitive, and, furthermore, his orchestration is delicate, resourceful, and always apt.
' Mood Indigo ', written in 1930, is one of the best known of Ellington's pieces. It is in the style of a ' blues ' and shows the composer's creative gifts at their best.

Directed by NORMAN AUSTIN
Relayed from
The New Victoria Cinema, Edinburgh
Sibelius's ' Valste Triste' is part of the incidental music to a drama,
' Kuolema ' (Death). The story the music portrays is : A youth has fallen asleep at night by the sick bed of his mother. Slowly the dark room lights up with a red glow, and a valse-tune is heard in the distance. The dying woman leaves her bed, and, swaying to the lilt of the music, summons dancers, who now enter the room. The mother dances with them until she falls on the bed exhausted. But she makes a supreme effort, and the dance is renewed, wilder than ever. At its height there comes a rap at the door. The sick woman cries out, the dancers and the music are gone. Death has come.

Directed by NORRIS STANLEY ,
Relayed from
Pattison's Cafe Restaurant, Birmingham

Wilhelm Backhaus (pianoforte):
Scherzo in E flat, Op. 4 ; Intermezzo,
Op. 118, No. 4; Romance in F, Op. 118, No. 5 (Brahms).
Heinrich Schlusnus (baritone) :
Rhine Legend ; The Drummer Boy ; (Des Knaben Wunderhorn) (Mahler) ; Song to Spring (Er ist's) ; Biterolf (Hugo Wolf )
Dushkin (violin), Gromer (ohoc),
Durand (cor anglais), Vacellier (clarinet), Grandmaison (bassoon) : Pastorale (Stravinsky)
Samuel Dushkin (violin),
Igor Stravinsky (pianoforte) : Serenatio, Scherzino (Pcrgolesi) ; Gigue (Duo concertante for violin and pianoforte) (Stravinsky) ; Russian Dance (Petrushka) (Stravinsky)

Relayed from WESTMINSTER ABBEY
Order of Service
Psalm xxxiv
Lesson, I Kings viii, 22-30 Magnificat (Lloyd in E)
Lesson, Luke xxiii , 33-end Nunc Dimittis (Lloyd in E)
Anthem, Great Lord of Lords (Wood) Hymn, Praise my soul, the King of Heaven (A. and M. 298)

Leader, H. S. CROPPER
Directed by LOUIS COHEN
Relayed from
The Valley Gardens, Harrogate

by H. O. HODGSON
Relayed from
St. Mary's Church, Nottingham

Directed by CHARLES Kunz
Relayed from Casani's Club

including Weather Forecast and Bulletin for Farmers

(From Birmingham)
The title Main Street of Song suggests that the scene is laid in America. Actually, this is a new radio revue about a ' main street of song ' much older than Tin Pan Alley—Charing Cross Road.
The book and lyrics are by Peter Lansdale , who has done a good deal of writing for the Radio Follies and other Midland Shows ; while the composer, who knows Charing Cross Road particularly well, is Julian Wright , famous for ' All by Yourself in the Moonlight ' and ' Down on Misery Farm '. The theme of Main Street of Song is syncopation versus classical music; the former is represented by Freddie Flick , a successful writer of lyrics for syncopated numbers, and the highbrows by Sigismund Entwhistle , who looks upon such numbers as ' vulgar trash' and their writers as criminals. The situation is complicated by Sigismund's fair daughter, April, with whom Freddie is in love.

including Weather Forecast and Forecast for Shipping

conducted by The Rev. E.N. Porter Goff, Vicar of Immanuel Church, Streatham
(Organist, Reginald Goss-Custard)
Relayed from St. Michael's, Chester Square

The Rev. E.N. Porter Goff, who is temporarily in charge of the Mid-Week Service, began his connection with Immanuel Church, Streatham, in 1926, when he went there as curate; seven years later he returned as vicar. A keen supporter of the League of Nations Union, he has published a book on 'The Christian and the Next War' and in 1933 contributed to 'Christianity and the Crisis'.

Victor Olof was born in London, began playing the violin at nine, and in 1913 entered the Guildhall School of Music where he won the Merchant Taylor Scholarship. Later he studied under Kalman Ronay, nephew and principal London assistant of Professor Auer. In 1932 Victor Olof went to Vienna where he played Elgar's Concerto with great success.

Passages from the ' Rubaiyat of Omar Khayyam ' from the translation of Edward Fitzgerald ,
Read by RONALD WATKINS
Unkind things have often been said of translators, and translators have often deserved them, though the poor fellows practise the most difficult and thankless of all literary crafts. But now and again there arises a translator who carries the war into the enemy's country and actually makes a translated work his own by right of genius. Edward Fitzgerald 's famous version of the ' Rubaiyat ' of Omar Khayyam is a case in point.
In 1859 Fitzgerald, who had already published free translations of six plays by Calderon, issued his first version of the Persian poet's quatrains. He had sent it to the editor of a magazine two years before and for two years the editor kept it in a drawer-forgotten. At first the reading public took little more notice than the editor, but before Fitzgerald died in 1883 he had the satisfaction of seeing his work go into a fourth edition.
We loosely speak of the poem as ' Omar ' and think of it as a translation. But the fame that it brought Fitzgerald is justly his. He based his poem on a Persian original but did not profess to keep closely to it. Much even of the thought, to say nothing of the expression, is entirely Fitzgerald's.

THE GROSVENOR HOUSE
DANCE BAND
Directed by SYDNEY LIPTON
Relayed from Grosvenor House,
Park Lane