Betty Bannerman (Soprano)
The Harp Ensemble: Constantin Kony (Flute), Sydney Griller (Violin), Jack O'Brien (Violin), Philip Burton (Viola), Colin Hampton (Violoncello), Maria
Korshinska (Harp)

The harp is a musical instrument of great antiquity, and is recorded in one form or another in all, even the remotest, records of civilization. Paintings of large, richly ornamented harps have been seen on the walls of a bnrying-place at Thebes of the 13th century B.C. Following the Egyptians, the Assyrians were notable harp players and, still more recently, the Irish. Indeed the Irish harp, in a characteristically beautiful shape, is represented in the royal arms. The shape and ornamentation uf the harp have varied considerably through the ages, but only in detail, for its main design is fixed by the shape of the diatonic scale and the vibrational pattern woven from it. In other words, the triangular grace of the instrument is due solely to the fact that its strings have to be of certain length, and arranged in a certain order, so that the established gamut may be said to have a dual beauty-sound and symmetry. As far as these islands are concerned, the earlier Irish and Welsh harps were in size something between the mediaeval portable and the modern pedal harp. There were on the average thirty strings, and the tuning was fixed and unalterable. Such harps were made in London by William Menston, who, in 1420, sold two of them to King Henry V and Queen Catherine for £8 13s. 4d. Henry was apparently always buying harps. He had one made by John Bore, also of London, and sent to him to France. The harp in use to-day, with its elaborate pedal-stopping mechanism is a development that, beginning about 1720 with an invention by a Bavarian, Hochbrucker, was perfected at the latter end of the 18th century by Sebastian Erard, whose name connected with a harp has ever since been a guarantee of quality.

BETTY BANNERMAN
Lo Temps des Lilas (Lilac Time). ...}
Chanson d'Ophelie (Ophelia's Song).. }Chausson Chanson Triste \ } Duparc
Invitation au Voyage .............. / Duparc
Le Bestiaire Poulenc
Lo Dromadaire (The Dromedary) ; La Chevre du Thibet (The Thibetan Goat) ; La Sauterelle (The Locust); Le Dauphin (The Dolphin) ; L'Ecrevisse (The Cray- fish); La Carpe (The Carp)

FRANCIS POULENC was at one time one of the 'Six,' which was the name given to a group of young composers who, 9 soon 'after the Armistice, took certain steps to revitalize French music. In the opinions of these highly talented young people, French music had for some time been keeping bad company, and that it had in consequence got so refined and im- pressionized that there was danger it might presently go right off his head. So Poulenc and his friends decided to rescue it from its stuffy surroundings. They took it to the circus and the music-hall, taught it how to make up gay, inconsequent tunes like those it had heard there, and how to play them raucously on noisy instruments, and, generally, to be as free, debonair, and vulgar as it liked. Poulenc was only twenty when he wrote these songs. They are settings of verses by Guillaume Apollinaire , a poet after Poulenc's own heart, and are scored for voice, string quartet, flute, clarinet, and bassoon.

ENSEMBLE
Quintet for Strings and Harp (in ono
Serenade for Flute, Violin, Viola, Violoncello and Harp Albert Roussel
Allegro ; Andante ; Presto