Christ the Lord is risen again (A. and M. 136)
Psalm ii
Luke xxiv, 36-53
Jesus lives! (A. and M. 140)

Erica Morini (violin):
The Zephyr (Hubay)
Humoresque (Tchaikovsky)
Romanza andaluza (Sarasate)
Introduction and Tarantelle (Sarasate)

at the Organ of the Trocadero Cinema,
Elephant and Castle

The BBC Empire Orchestra
Leader, Daniel Melsa
Conductor, Eric Fogg

Hilda Dederich (pianoforte)

Orchestra:
Homage March (Sigurd Jorsalfar) - Grieg
Musette and Minuet (King Christian Suite) - Sibelius

Hilda Dederich:
Arietta and Waltz, Op. 12 - Grieg
Humoresque, Op. 2, No. 6 - Grieg
Butterfly, Op. 43 - Grieg

Orchestra:
Berceuse - Jarnefelt
Praeludium - Jarnefelt
Danish Rhapsody - Reesen

Hilda Dederich:
Night in May - Palmgren
Rococo - Palmgren
Humorous Dance (Finnish Style) - Palmgren
Evening Whispers - Palmgren
En route - Palmgren

Orchestra:
Norwegian Rhapsody No. 3 - Svendsen

The BBC Chorus, conducted by Joseph Lewis: Mystic Woods (based on Raymond Overture) (Ambroise Thomas, arr. Farrar)
Richard Crooks (tenor): Neapolitan Love Song ('T'amo, Princess Pat) (Blossom, Herbert); I love you so (The Merry Widow) (Lehar)
Miliza Korjus (soprano): La Villanelle (dell' Acqua); Das Ringlein (Chopin)
The BBC Chorus, conducted by Stanford Robinson: Waltz, Morgenblatter (Morning Papers) (Johann Strauss, arr Winter)

Leader, J. Mouland Begbie
Conductor, Guy Warrack
Dorothy King (soprano)

Orchestra:
Allegro in D (Finale of a Symphony - K.121)...Mozart

Dorothy King and Orchestra:
Symphony No. 1, in C...Beethoven
1. Adagio molto - Allegro con brio;
2. Andante cantabile con moto;
3. Minuetto e trio;
4. Adagio - Allegro molto e vivace
Beethoven is thought to have begun his first symphony when he was about twenty-five, but he was thirty before it was first performed in 1800. The music seems simple and straightforward enough to us now, but in those days it was considered by the critics to be daringly modern. The introduction upset them to start with, for Beethoven had been a little unconventional in the matter of keys, running through three of them in the first three bars. But it is all very jolly music, reminding us first of Mozart, then of Haydn.

Dorothy King:
Cherry Ripe...arr. A.L.
The Lass with the Delicate Air...arr. A.L.
Where the bee sucks...Arne
Songs my mother taught me...Dvorak

Orchestra:
Overture, Euryanthe...Weber

by H. A. BATE

Leader, Bertram Lewis
Conductor Richard Austin
Solo pianoforte Leslie England

from the Pavilion, Bournemouth

Suite No. 3, in D - Bach
1. Gavotte; 2. Bourree; 3. Air; 4. Gigue

3.31 Pianoforte Concerto No. 1, in E flat - Liszt
Allegro maestoso - Quasi adagio - Allegro vivace -
Allegro marziale animato

Liszt's Piano Concerto No. 1, in E flat, is one of his most popular works, and, from some points of view, one of his finest. Unlike the three-movement classical concerto, this concerto is in one continuous movement, although there are four definite sections that correspond in matters of style and tempo to a concerto with four movements. They are, however, far more compact in development and terse in statement. Instead of having different thematic material for each section, Liszt exploits one main theme, which he transforms in various ingenious ways to suit the style of the movment or section. The music is very dramatic, scored with great brilliance, and written with an expert eye for pianistic effect.

3.55 Symphonie pathetique, No. 6 - Tchaikovsky
1. Adagio - Allegro non troppo - Andante moderato mosso - Andante - Moderato assai - Allegro vivo - Andante;
2. Allegro con grazia; 3. Allegro molto vivace;
4. Finale: Adagio lamentoso - Andante

Directed by JOHN MACARTHUR
(From Glasgow)

including Weather Forecast and Bulletin for Farmers

Jean-Marie Leclair l'aine (1697-1764)
Violin Sonatas played by Jean Pougnet (violin), John Ticehurst (harpsichord)

Sonata No. 7, in B flat
1. Largo; 2. Allegro ma poco; 3. Aria: Allegro ma non troppo; 4. Giga: Allegro

J. A. Scott Watson (Professor of Rural Economy, University of Oxford)

(Section E)
Led by Marie Wilson
Conducted by Iris Lemare
Bernard Shore (viola)

Orchestra:
Overture, The Wasps - Vaughan Williams

Bernard Shore and Orchestra:
Concerto for viola and string orchestra...Christian Darnton
1. Allegretto con grazia;
2. Aria;
3. Intermezzo;
4. Dramatico maestoso
(First broadcast performance)

Orchestra:
Great Agrippa (or The Inky Boys), Ballet for five dancers after Struwwelpeter, for fourteen instruments and percussion...Elizabeth Maconchy
1. Promenade;
2. Mocking Dance;
3. Apparition of Great Agrippa;
4. Dance of Triumph;
5. Grotesque Dance;
6. Cheerful Dance
(First broadcast performance)

Passacaglia on a well-known theme...Gordon Jacob

Although ever since music became a public entertainment women have won high success as instrumentalists, it is only during the last decade or so that they have turned their attention to conducting. Among the younger women conductors one of the most promising is Iris Lemare, daughter of E. H. Lemare, the distiriguished organist. Miss Lemare has always taken great interest in young British composers, the performance of whose works she encourages at the Lemare Concerts held at the Mercury Theatre, Notting Hill Gate. For instance, both Christian Darnton's Viola Concerto and Elizabeth Maconchy's ballet Great Agrippa received first performances at Miss Lemare's concerts.
Christian Darnton 's Concerto for viola and orchestra was commissioned by Bernard Shore during the winter of 1934-5. Like all Darnton's music, this concerto follows a highly individual course. Both in form and texture the music is comparatively simple and straightforward to listen to.
Elizabeth Maconchy's 'Great Agrippa' or 'The Inky Boys' is a ballet for five dancers after 'Shockheaded Peter' with accompaniment for fourteen instruments and percussion.

Constant Lambert is one of those rare musicians who entertain a lively interest in every kind of music as long as it is good of its kind. He refuses to identify himself with any particular movement or clique.
Both by enthusiasts and by antagonists, a great deal of nonsense has been talked about 'jazz', 'hot rhythm', 'swing music', etc. One of the few musicians who approach the subject with true understanding and critical judgment is Mr. Lambert. It will therefore be of great interest to hear what he has to say on this popular and highly controversial subject.
His first talk, 'The origins of modern dance music', will explode a great many misconceived notions, among which is the legend that the more exotic styles of modern dance music are derived from African folk music. Mr. Lambert will illustrate his talks with appropriate examples at the piano.

A Little Revue of Every-day People
Book and Lyrics by Charles Hayes
Music by George Barker

(By arrangement with Howard and Wyndham)
The BBC Revue Chorus with The BBC Variety Orchestra

including Weather Forecast and Forecast for Shipping

An impression - a conjecture - a shot in the dark at what listeners might have heard had broadcasting been invented in the reign of Queen Elizabeth.
Written and arranged by Herbert Farjeon

Those taking part are: Richard Ainley, Eric Anderson, Norman Shelley, Carleton Hobbs, D. Hay Petrie (By permission of The Theatre Royal, Drury Lane, and Phoenix Films), Stanley Lathbury, Harold Reese, Joyce Bland, F.G. Blandford
Lute played by Diana Poulton