Personally conducted by JACK PAYNE

Directed by GEORGES HAECK , from the Restaurant Frascati

THE ordinary British housewife with a definitely limited amount to spend on food is pretty well practised in getting good value for her money ; but even she may learn from this concluding talk something about the food values that science chas discovered in the less expensive dishes. Miss Clarke will also say a word about the importance of good cooking and the faults most often typical of British cooks.

Jo LAMB (Violin) ; ANNIE SHORE (Violoncello ); JOHN WILLS (Pianoforte)
Jo LAMB and JOHN WILLS
Sonata in D, Op. 12, No. 1 Beethoven
THE First Movement of Beethoven's first Violin Sonata (he wrote it when he was twenty-seven) is a quick, vigorous, run-about piece. It has two main tunes. The first is the jerky one, strutting up and down the chord of D Major at the opening, with the tags which Violin, and then Piano, attach. The second main tune is a sort of slow four-finger exercise, first introduced unobtrusively, high up on the Piano.
The Second Movement consists of a lengthy Air and four Variations, with a brief Coda, rounding the Movement off.
The Third Movement (Quick) is a very skittish dance-a Rondo. The tune with which the Piano starts off, and which the Violin repeats, dominates the Movement.
HERE is a bracing piece of music, if iever 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 Violoncello give out, in octaves, the broad second main tune.
The Second Movement is in ' Scherzo ' style-light, quick and lithe, and the Last Movement is as vigorous as the First.

4.20 Jo LAMB and ANNIE. SHORE - Passacaglia Halvorsen
4.30 Jo LAMB, ANNIE SHORE and JOHN Wills Trio in C Minor - Brahms

How, Why, When, and Where
You will hear
' How the Chinese knew the World was Round,' a Whimsical Story by G. M. FAULDING
What happens ?
' When the Stars come out' (York Bowen), sung by EVA NEALE
' When the Sergeant-Major's on Parade ' (Longstaffe), sung by ARTHUR WYNN
' Where go the Boats ? '-this and many other problems will, we hope, be solved.

Personally conducted by JACK PAYNE

(Continued)

MISCELLANEOUS PIANO WORKS OF MOZART
Played by ETHEL BARTLETT
Fantasia in D Minor
Rondo in F
THE short Fantasia has almost the character of an timprovization. Impetuous passages break in on the grave opening mood; there is a note of anxiety, that is soon dispelled by the gay little ending.
We have a tiny drama in sound, but with no story behind it—just the natural, concentrated dramatic quality that the music of a master almost always possesses.

ACCORDING to one theory, the only thing
A that men can care about is happiness of one kind or another, and in the last analysis * everything we desire is desirable because it leads to happiness. Therefore, ' 'good' is happiness. In this evening's talk Professor Hetherington will investigate this theory and the complications to which it leads.

GWEN FARRAR and BILLY MAYERL
(Entertainers)
GENE GERRARD (Comedian, late of 'The Desert Song')
THE GEDDES BROTHERS (in Banjo
Duets)
GRACIE FIELDS (Comedienne)
Sketch:
'AG AND BERT' by MABEL CONSTANDUROS
Cast :
THE B.B.C. DANCE ORCHESTRA personally conducted by JACK PAYNE

TONIGHT Professor Gleadowe will continue his analysis of the qualities of fine painting, speaking rather from the point of view of the practical artist than from that of the critic or of the historian ; for a picture is a human document that can be more easily read by an artist than by a scholar, and should appeal to those who are neither artists nor scholars themselves.

(For Cast, see centre of page)
TONIGHT'S broadcast production of Hamlet will not be a complete version of the play as written. Great care has, however, been taken to ensure that the best which Shakespeare at almost his greatest has given us shall be retained. Hamlet is, as far as stage or microphone presentations go, the finest of the tragedies, though, as a sheer resplendent work of genius, it is excelled by King Lear, a play which makes such demands upon the actors and the stage as to render its production seldom possible. Hamlet is, par excellence, a ' microphone play,' though at such moments as the killing of Polonius and the final bloody climax, its action becomes visual. The true and moving drama of the piece lies in its dialogue, which contains many lovely and familiar lines. The part of the Prince of Denmark has set the seal upon the reputation of many great tragic actors in England, France, Germany and Italy. Tonight's is the first important Shakespearian broadcast since the production, on St. George's Day, of Henry V.