I have found the source of those awful lyrics:

From an article—a regular column, I suspect—called "Ad Libitum" by "FESTE" in The Musical Times, September, 1937:

Both Beethoven and the conductor quoted above [saying "Highbrow music can never be really popular until lyrics are included…."] have recently been well backed up by an American author, Sigmund Spaeth, who has brought out a book 'Great Symphonies: How to Recognize and Remember Them.'

Everybody know the difficulty in distinguishing between the classical symphonies. It is, for example notoriously hard to remember which is which of the involved opening themes of, say, Beethoven's 'Eroica' and the C minor; indeed, looking at all the nine, it is hard to differentiate them except by their numbers and keys. The same difficulty exists in all the repertory. Dr. Spaeth has therefore invented three hundred and fifty little poems to help the youthful of all ages. For example, the tortuous theme of the slow movement of the 'New World' Symphony is fixed in the mind (if any) by singing it to:

'English Horn,
All forlorn,
Pipe your plaintive lay;
Dreaming slow, soft and low,
What does Dvořák say?'

The 'New World' has always been a flop; with Les Allen standing beside the conductor fervently crooning—slightly off pitch, of course—these words at the start of the Largo, this hitherto neglected work of Dvořák's might at last make its way.

The title of Schubert's B minor takes on a new significance in the light of these new ideas: it is Unfinished in the sense that it has had to wait till to-day for its clever lyrics. Dr. Spaeth's effort for the opening subject is:

'Low minor tune,
Schubert will sing right soon.'

For the next subject Les will help Franz out with:

'Schubert, beloved Schubert,
We call on you!
These notes are all too few'!

Let not the pedant make a quatrain of it by adding:

'These words are all too many'!

Any project that enables serious music to capture public fancy deserves the warm co-operation of all earnest propagandists of the best.