' The Magic Cave,' by Margaret Madeley
Scots Songs, by JANET MacFarlane (Soprano)
TONY will Entertain
' The St. Lawrence,' by William Hughes
Relayed from the Queen's Halt
SIR HENRY WOOD and his SYMPHONY ORCHESTRA
ANNE THURSFIELD (Soprano)
BORTS PECKER (Violin)
HERBERT WITHERS (Violoncello)
THERE are three Movements in this work-the Quick Movement, with its development of two main tunes ; the Slow Movement, in three parts, the first and last of which use the same material, and the finely-spirited Last Movement, in Rondo stylo.
BRAHMS' fourth Symphony is in the usual four Movements.
FIRST MOVEMENT.—The wide - stepping first main tune, heard at the commencement, is a good deal elaborated, and the music soon becomes more animated.
A subsidiary theme for Woodwind and Horn has that arpeggio progress that was one ot Brahms's distinguishing marks in tune-making
From this and the first main tune a great' deal of the Movement is built up.
SECOND MOVEMENT.—This is a tender, lyrical
Movement in reflective, almost elegiac mood.
THIRD Movement.—Here is an atmosphere of rather boisterous jollity, which the percussion instruments notably help to create.
The Movement is a Rondo, the main theme coming round several times.
After the opening, on the Full Orchestra, comes a graceful contrasting tune.
Transformations of these melodies (portions of which appear in different rhythms and in various parts of the Orchestra) keep the Movement bowling along. A long passage for the Drums brings in the Coda, in which we hear fragments of the opening melody.
FOURTH MOVEMENT.—This takes a form rare in symphonies-that of the Passacaglia, which was originally a dance with a fixed, recurring melody.