Music from the Hotel Metropole

M. STÉPHAN :
Elementary French

Arranged by the People's Concert Society in co-operation with the B.B.C.
Relayed from Hammersmith Town Hall
Sixth Concert of Fourth Series
Nina Robinson (Contralto)
Frederick Woodhouse (Baritone)
Kathleen Cooper (Pianoforte)

Tchaikovsky (1840-1893)
Pianoforte Solos: (a) Song without Words; (b) Humoresque
Three Songs for Baritone: (a) Autumn (Songs for Children): (b) A Legend; (e) Grandmother and Grandchild
Songs for Mezzo-Soprano: (a) A Fable; (b) The Sad Little Bird and (e) The Child and the Butterfly (Arenski); (d) The Wind in the Cherry Tree (Folk Song)
Pianoforte Solos: (a) The Hobby Horse; (b) Dolly is Ill; (e) Polka; (d) Song of the Lark; (e) The Witch (Album for the Young) (Tchaikovsky)

The second part of the programme will include miscellaneous items, the titles of which will he given out by the Announcer.

CYRIL HELLIER (Violin) ; CLIFFORD HELLIER (Pianoforte)

Songs by Frederick Chester
The Wicked Uncle will Discourse on Fireworks

ORCHESTRA from the Prince of Wales Playhouse, Lewisham

FIRST GENERAL News BULLETIN
Mr. G. A. ATKINSON : Seen on the Screen

RACHEL MORTON (Soprano) ; HAROLD WILLIAMS (Baritone).
THE WIRELESS SYMPHONY ORCHESTRA, conducted by PERCY PITT
PART L
ORCHESTRA
A Faust Overture
THIS work was written in Paris in 1840 (when
Wagner was twenty-seven) in the midst of opposition and failure. It wa3 originally designed as the first movement of a ' Faust Symphony,' and was re-written in IS53. The subject is, of course, Goethe's story of Faust, who is tempted to sell his soul for renewed youth. The peaceful ending may, perhaps, represent his final redemption
Elsa's Dream (Lohengrin) (Elsa: RACHEL MORTON )
The Siegfried Idyll
HAROLD WILLIAMS
Monologue ....
O Star of Eve
ORCHESTRA
Overture and Venusberg Music (Tannhäuser)

'THE MASTERSINGERS OF NUREMBERG'
Overture
Scene III., Act II.
Eva : RACHEL MORTON
Sachs : HAROLD WILLIAMS
EVA, daughter of the goldsmith-Mastersinger, is in love with Walter, the young Knight who aspires to membership of the ancient guild of Mastersingers. There is to be a contest of song, the prize being the hand of Eva. Sachs, the cobbler-philosopher member of the band, himself has a tender feeling for Eva.
In this Scene Eva comes to Sachs as he sits at work, and begins to discuss the coming contest, and to wonder who will win. She drops a hint that a widower might hope to do so, but Sachs jokingly turns the question aside. Eva asks how Walter fared at his first appearance before the Mastersingers. Sachs quotes the Masters' severe opinions on the young man's performance, which was far from academically correct, and, noting that Eva is angry at the news, he becomes certain that she loves Walter, and determines to sacrifice his own feeling for her in the young man's interests.
Prelude to Act III. Homage to Sachs
Dance of the Apprentices
Procession of the Mastersingers
THE Prelude to Act III. is one of the most poetically beautiful passages in all Wagner's work. It introduces the scene in which Sachs sits reading and meditating, in the glow of the midsummer morning sun, upon life and the strife of men. We hear during the course of the music Sachs' hymn in celebration of Luther and the Reformation, the composition of which had brought him great fame among the townsfolk, and which they sing, in homage, when he appears on the Festival day.
The Apprentices' Dance comes in the last Scene of the Opeia, when the citizens are assembled in a meadow outside Nuremberg to hear the great song contest. The jolly waltz music is brought to an end by the appearance of the dignified Mastersingers, whose imposing themes we heard in the Overture to the Opera.

THIS is the fourth in the series of 'Modern Fiction,' in which representative contemporary story-writers are reading their own stories on alternate Fridays. Mr. Geoffrey Moss quite recently established his reputation with two books, ' Sweet Pepper ' and ' Defeat,' that at once marked him out as a writer of peculiar realism, poignance and force.

Interpreted by SOLOMON
Sonata in B Minor, Op. 58
Part I. Allegro Maestoso ; Scherzo, molto vivace
CHOPIN'S Third Piano Sonata is one of the latest of his bigger compositions, written
, as it was in 1844, but five years before his early death (at the age of thirty-nine).
The First Movement is in the usual ' first-movement ' form ; its material is set forth in a first section, treated in various ways in a second, and recapitulated in a third. But the material is so profuse (too profuse, according to most critics), that without previous knowledge of the . work, all one can do is to drink in the music without too close attention to detail.
The Scherzo has for beginning and end a ceaseless, high-and-low-ranging flight, as swift and light as could be. In the middle there is a long, calm melody.

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