Arranged by the PEOPLE'S CONCERT SOCIETY in co-operation with the B.B.C.
Relayed from the Northern Polytechnic
Second Concert of Fifth Series
CONSTANCE IZARD (Violin); J. R. BRAND (Oboe); VERA MOORE (Pianoforte)
PART I. Devoted to music by J. S. BACH (1685-1750)
Two Movements from Sonata in K for Violin and Pianoforte
Adagio-Allegro
PART II. of the programme will include miscellaneous items, the titles will be given out by the announcer

DAVID SISSERMAN (Violoncello)

Songs by Eva Neale; 'The Tangley Wood,' a story with songs (Edith Agar and Ethel Royce); 'Sandy Fights the Flames' (Peter Martin)

TIME Signal, CREEKWICH.

Bach's 48 Preludes and Fugues played through consecutively at this hour daily throughout tho month

There has been recently a considerable revival of public interest in architecture, and the ordinary man in the street is beginning to realise that, unlike most of the arts, architecture is also in the street, and new buildings, good or bad, affect him more immediately than, for instance, new music or pictures. Professor Reilly (who is Roscoe Professor of Architecture in the University of Liverpool) has led the way in criticising buildings from a social and civic, rather than from a purely architectural, point of view. In particular, he has expressed himself strongly on such modern tendencies as those displayed in the new Regent Street. His own ideas can be seen in a concrete embodiment in the new building on the Piccadilly frontage of the Devonshire House site, in the designing of which he collaborated with a firm of American architects. In this series of six Talks he will discuss some of the new buildings, and listeners may be sure that his judgments will be not only trenchant and witty, but expressed in terms that the ordinary layman can understand.

EDDIE SHELDON (in Syncopation)
RAMON and NADA (in a Musical Act)
RICKARDS and STEVENS (Entertainers)

An Opera by Flotow
The Wireless Chorus (Chorus Master, Stanford Robinson) and Symphony Orchestra, conducted by Percy Pitt

(A Libretto of this Opera is published by, and is obtainable from, the B.B.C. For full details see the announcement on page 175 of this issue.)

Martha, that lively story of a love-frolic in Queen Anne's day, is just eighty years old, in the form which it finally took. It was originally a Ballet in which Flotow collaborated with two other persons. Its tunes have kept it alive on the Continent. It has not been heard at Covent Garden for over thirty years.
The work has been variously produced in three, four and five Acts. In the present performance there are four, the first Act being divided into two Scenes.

Act I.
Scene 1. One of the Queen's Maids of Honour, Lady Harriet Durham (Soprano), tired of coquetting with an old admirer, Sir Tristram Mickleford (Bass), decides to run off, with her friend Nancy (Mezzo-Soprano) for an adventure.

Scene 2. Escorted by the pertinacious Sir Tristram, they attend the Richmond Hiring Fair. Under the disguise of servant girls, and passing themselves off as 'Martha' and 'Julia,' they meet two farmers, Lionel (Tenor) and Plunkett (Bass), and contract with them to become their serving-maidens.

Act II. At the farm, there is some fun when Lionel and Plunkett find the girls curiously ignorant of their duties. Plunkett pairs off with 'Julia,' and Lionel falls in love with 'Martha,' who sings to him the (now celebrated) Last Rose of Summer. In the night, the girls escape from the farm, helped by Sir Tristram, and return to Court.

Act III. The Queen and her Court are hunting. Plunkett appears and recognizes his 'Julia,' in Mistress Nancy; then Lionel approaches and again seeks to woo 'Martha,' but he is repulsed. He is able, however, to leave in her hands a ring. (This proves that he is the son and heir of the late Earl of Malby.)

Act IV. Lionel's reason is giving way, because of his disappointment in love, and when be next sees Harriet, who is now touched by his love, he does not recognize her as 'Martha.' When again a fair is being held, the two girls resume their masquerade, in the endeavour to restore Lionel to his right mind by the sight of her whom he loves (and who now returns his affection) dressed as he first saw her. Harriet again sings her Rose song to him, and, his mind clear once more, the Earl wins the willing Harriet as his bride.