from Restaurant
Fraseati .

Mr. GERALD COULD and Miss MARY SOMERVILLE, . Reading and Writing'

A BONNET LAIRD, Merrie England '

from the New Gallery Kinema

Piano Solos by Victor Hely Hutchinson; Squince and his Nuts (Olwen Bowen); The Floating Dock and Its Work (G.G. Jackson)

from
The Rialto
Theatre

by the Royal Horticultural Society

Lieut.-Col. W. P. DRURY, C.B.E. : Historical Sketches-In the Whispering Gallery of St. Paul''s.' S.B. from Plymouth.

ELSIE MAYFAIR
HENRY HEARTY
'Comedian)
BROMLEY CARTER (Humorist) CHARLES BAINES (Tenor) ANNA CLIVE (Soprano)
GLADYS HOLLIDAY (Solo Pianoforte) FELGATE KING

'Companionable Books-
Boswell's Life of Johnson '
TAMES BOSWELL, the son of a Scottish judge, came to London as a law student in 1763, and was introduced to Dr. Johnson, the Great Lexicographer, essayist, poet, scholar, and wit, and the Great Cham of letters of his time. Thenceforward Boswell attached himself assiduously to the great man, and, undeterred by his natural rudeness and his intense dislike for everything Scottish, succeeded ultimately in installing himself as the fidus Achates. The result was his
' Life of Johnson,' the most famous biography in the language, and the book that, more than his own works, is responsible for Johnson's fame to-day. Many critics, in fact, contend that, under the disguise of an industrious and unassuming compiler, Boswell was in reality a literary genius who drew his Johnson far more than life-size, and made of him a character far richer and more commanding than the original. Be that as it may, Boswell's ' Johnson ' remains one of the most fascinating books ever written, and without doubt one that cannot be omitted from any list of ' companionable books.'.

Interpreted by EDGAR BANTON
Sonata in E Flat Major (concluded) : Andante
Molto ; Menuetto ; Allegretto ; Allegro Mod erato rPHE First Movement of this Sonata was heard yesterday. The Second Movement, now to be heard, is essentially simple, beautiful material beautifully treated.
The MINUET and Trio are pleasant, easy-going stuff. The language is the language of Haydn, but the voice is the voice of Schubert.
The FINALE (moderately quick) is in the form which, though best called First-Movement form, is not infrequently used for other Movements of works of the Sonata type. There is a merry First Main Tune, a slightly more serious, responsible Second Main Tune, which arrives in an unexpected key, and a self-confident Third Main Tune in the Tenor. The most delightful thing about this Movement is the casual way in which what should be the second (or ' Development ') section, gets carried away with all sorts of new material, yet without seeming disconnected. Anyhow, ' all's well that ends well,' and here the chief material is all eventually recapitulated ' according to plan.'

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Announcements

SERGE KRISH (Pianoforte)
WILLIAM PRIMROSE (Violin) MANUCCI* (Violoncello)
Movements from Trio in C Minor, Op. 101 Brahms Allegro Energico ; Presto Non Assai
HERE is a bracing piece of music, if ever there was one! It has the tonic effect of a tramp in the fresh, keen air of spring.
The vigorous FIRST MOVEMENT is built upon two Main Tunes, the first of which, crisp and brief, is heard right away at the opening. After some episodical matter, the Violin and 'Cello give out, in octaves, the broad Second Main Tune.
The SECOND MOVEMENT is in ' Scherzo ' style-light, quick and lithe.

(By Special Request)
MOST of the last-century Russian Composers were ardent ''Nationalists,' but Arensky is an exception. His is largely cosmopolitan music, tuneful, graceful, and easily enjoyed at the first hearing.
His Trio in D Minor contains four Movements, of which the FIRST is lively, graceful, and occasionally forceful, working up to some strong climaxes.
The SECOND is a v i vaciou Scherzo, at full speed, that has a middle section in quieter mood.
The THIRD is a slow Movement, entitled Elegy.
The FINALE surpasses in energy the First Movement. In the middle of it there is a lull, and, in slower time, we have a reminiscence of the melody heard at the opening of the work. Then the brilliant stylo is resumed, and the piece flashes on to its conelusion with arpeggios, from the Piano and chords from the Strings.