The Stradivarius String Quartet:
Quartet in D (Mendelssohn)-l Molto allegro vivace. 2 Minuetto. 3 Andante. 4 Presto con brio
The Lener Quartet: Canzonetta
(Quartet in E flat, Op. 12) (Mendelssohn)

A Variety Orchestra of P.T.T.
Conductor, William Cantrelle from Paris

Boston Promenade Orchestra, conducted by Arthur Fiedler : Grand March (Aida) (Verdi)
New Light Symphony Orchestra, conducted by J. Ainslie Murray : Valse Rustique ; Valse de la Reine (Four Characteristic Waltzes, Op. 22) (Coleridge- Taylor)
The London Philharmonic Orchestra, conducted by Sir Thomas Beecham , Bart.: March (The Fair Maid of Perth) (Bizet)
The Philadelphia Orchestra, conducted by Stokowski: March (Nut-cracker) (Tchaikovsky)
The Vienna Philharmonic Orchestra, conducted by Clemens Krauss : Liebeslieder Waltz (Love Songs) (Johann Strauss )
The London Symphony Orchestra:
March Rhapsody (Edward German)
Milan Symphony Orchestra:
Waltz (Faust) (Gounod)
Boston Symphony Orchestra, conducted by Koussevitsky: Hungarian March (Damnation of Faust) (Berlioz)

Harry Dyson (flute)
Eric Roberts (violin)
Gethyn Wykeham-George
(violoncello)
Tina Bonifacio (harp)
(Northern Ireland)

at the BBC Theatre Organ

1-'Hats and Caps '
Aspects of headgear as an item of everyday clothing, together with some illuminating notes on the social significance of the Hat
The cast includes :
Barbara Couper
Sybil Evers
Elizabeth Gilbert
Alexander Archdale
Maurice Denham
Ernest Jay
James Page
Frederick Piper
Arranged and produced by John Richmond
(Empire Programme)

(Sound and Vision No. 8) with Queenie Leonard
Jackie Billings
Diana Chase
Graham Payn
Joyce Winn and Edward Cooper
Dennis van Thai and his Orchestra
Production by Reginald Smith
Direct from Radiolympia

The BBC Empire Orchestra
Leader, Leonard Hirsch
Conductor, Eric Fogg It was not until 1800, when Beethoven was thirty years of age, that he embarked upon his First Symphony in C, which is more or less carefully modelled on the conventional lines followed by his predecessors. In the Second Symphony in D, however, he shows complete mastery over technical problems, and although he still accepts the symphonic pattern of Haydn and Mozart and uses the normal classical orchestra without trombones, the firm and unmistakable signature of Beethoven is apparent throughout, particularly in the fiery first movement. And there is one magical passage near the end of the finale that could have been written by no one else.