THE LUDWIG STRING QUARTET
(Scottish Regional Programme)

From The Dorchester Hotel
(Daventry National Programme)

Conductor, STANFORD ROBINSON

Relayed from THE QUEEN'S HALL
(Sole Lessees, Messrs. Chappell and Co., Ltd.)
THE LONDON PHILHARMONIC
ORCHESTRA
Conductor, SIR THOMAS BEECHAM
When Strauss, early in his career, determined that his trne function was that of writing
' music of expression,' he decided to adopt the symphonic poem form, of which Liszt had been the pioneer, and it was of course Liszt that ho took as his first model. His first venture in this form was the orchestral work entitled Aits Italien , this was succeeded by Macbeth, in both of which the influence of Liszt was predominant. Both these fine works, however, were eclipsed by the two which quickly followed Don Juan and Death and Transfiguration. At the time Strauss took up this form, the symphonic poem had degenerated into mere attempts to tell stories in music; Strauss from the first never committed this error. The chief difference between the early symphonic poems of Strauss and the later ones is that in the former he was concerned how to express as much as possible within the limits of the form, whereas in the later ones his endeavour was to determine wliat he had first to say and then find the music that would best express it. Macbeth, which is a musical expression of Shakespeare's tragedy, incliues in construction to the earlier form.

MR. HOWARD MARSHALL reading Lamb's Essay on ' Ears '