Arranged by the People's Concert Society in co-operation with the B.B.C.
Tenth Concert of Fourth Series

Dorothy D'Orsay (Contralto), Frederick Woodhouse (Baritone), Harold Fairhurst (Violin)

Part I. English Folk Music, Part II.
Miscellaneous items, the titles of which will be given out by the announcer

Songs by Dale Smith.

'The Princess who could not Laugh' (A.A. Milne)

Frank Westfield's Orchestra, from the Prince of Wales Playhouse, Lewisham

Mr. G. A. Atkinson: 'Seen on the Screen'

An Anniversary Programme, arranged by Cecil Lewis
The Wireless Orchestra, conducted by John Ansell

It was on December 3, 1894, that Robert Louis Stevenson was struck down on the verandah of his house at Vailima, in Samoa, with apoplexy, and the same evening he died. Only a year before he had published two of his most important books, 'Catriona,' the sequel to 'Kidnapped,' and 'Island Nights' Entertainments,' a volume that included, in 'The Bottle Imp,' one of the great short stories of the world's literature. It would be hard to find a writer of romances who enjoyed so great a contemporary reputation as Stevenson, and who left behind him so considerable a cult, the survival of which is demonstrated by the still increasing demand for cheap editions of his works. Although his fame was made by 'Treasure Island,' 'Kidnapped,' and similar stories, his essays became equally popular, and in addition he has left, in his 'Defence of Father Damien,' a piece of English worthy to rank with the first of Swift's 'Drapier's Letters' as a model of strong, virile, controversial prose.

'Claud Duval' By W.P. Frith
A Famous Picture brought to life
Dunn and Dee (Cross Talk)
Irene Brown (of Musical Comedy Fame)

Sir Edmund Gosse is one of the Old Guard of English literary criticism. His first prose writings were published so long ago as in 1879, and since then he has established a solid reputation as a critic of wide learning, impartial judgment and discriminating taste. His books include biographies of Gray, Donne, Jeremy Taylor, Congreve, Swinburne and Sir Thomas Browne, and his latest volume of essays was 'Silhouettes,' published last year.

Interpreted by Edgar Bainton
Sonata in B Flat Major, posthumous work (First Two Movements)
Molto Moderato ; Andante Sostenuto
SCHUMANN considered that there was a clear difference between Schubert's earlier Sonatas and the three which are said to have been his last compositions. In these last three (of which to-night's is the third) Schumann found ' a greater simplicity of invention,' and ' a cheerful surrender of every effort to be thought brilliant and original.'
The FIRST MOVEMENT of this Sonata in B Flat (at a very moderate pace) is a long piece in itself. It opens with a very soft, sustained melody, smooth and grave, perhaps even mystical. It is long before we pass on from this First Main Tune. Perhaps a real change of mood would destroy the power of the whole Movement. At any rate, there is never any real break in the contemplation-the Second Main Tune is very closely akin to the First.
The SECOND MOVEMENT (moving steadily, sustained) continues the deep thought set out by the First. The Main Section is characterized by a distinctive rhythm which persists throughout. A Middle Section consists of one long, simple melody.

Local Announcements

Interpreted by Ticciati

Concerning this Concerto it is said that Rubinstein, the great Pianist, suggested that Saint-Saens and he should together appear in a concert as Soloist and Conductor respectively. There were three weeks before the event was due, and the Composer promised to write a new Concerto for the occasion. He did it easily, with several days to spare, and, as ever, played his work (the one we are now to hear) brilliantly. It is in three distinct Movements.
The First Movement, beginning with a slowish Introduction, goes on to the discussion of themes in turn impassioned and calm.
The Second Movement (quick and playful) is a dainty piece of work. The opening-plucked Strings, to an undercurrent of drum rhythm-is a charming way of launching a Movement. In a moment the Piano sets its capricious dance going, and we know we are in for a jolly time.
The Third Movement (the Finale) is also a very lively piece, in the style of the excitable Tarantelle dance.