Walter. In 1932, Stanford Robinson was transferred to the BBC Theatre Orchestra, which he conducted for many years. He was succeeded briefly by Cyril Dalmaine, who took over in July 1932. In his autobiography, written under the pseudonym Jonah Barrington, Dalmaine said his appointment 'typifies one of the early weaknesses in BBC administration – the allocating of jobs to the lowest bidder'. It was plain that Dalmaine was not ideally suited to the job, and within two years he left the BBC, a victim (as he put it) of 'the BBC’s absorbed and all-pervading interest in man’s relations with woman' which was ‘at that time proverbial’. Leslie Woodgate The choir's name was changed in 1932 to The BBC Chorus, and again in 1935 to become the BBC Choral Society when a professional choir named the BBC Chorus was established. Leslie Woodgate held the post of chorus master from 1934 until he died in 1961. He was wholly dedicated to the work of preparing the Society for the many arduous engagements it undertook, and raised the choir from the position of being, as Sir Henry Coward told Woodgate in 1936, 'nearly as good as my Yorkshire choir' to being at least as good as the great, long-established choral societies of the north. Important performances of new works continued: on 11 April 1934 there was Holst's First Choral Symphony (which had been premiered in Leeds Town Hall in 1925), and on 28 November 1934 the British premiere of Stravinsky's Perséphone. In January 1935 Albert Coates conducted one of the Thirties’ curiosities: the Symphony in C minor by Yuri Shaporin. The BBC Choral Society took part in Bartók's Cantata Profana on 25 March 1936 under Boult; the London premiere of Vaughan Williams's Five Tudor Portraits on 27 January 1937; and, perhaps most remarkable of all, the British premiere of Busoni's Doktor Faust, which took place on 17 March 1937. In 1939, Leslie Woodgate described the operation and function of the various BBC choirs, including the Choral Society, in an interview with The Musical Times. Under Leslie Woodgate, the Choral Society achieved maturity; and all accounts of the period agree that the occasions which marked that maturity were the concerts given at the end of the 1930s under the direction of Arturo Toscanini. When Toscanini was first persuaded to come to England, he would not consider working with an amateur chorus, but eventually he