SILVIA PARISOTTI (Soprano) ROBERT BARRY (Baritone)
PATRICIA ROSSBOROUGH
(Songs at the Piano)
Louis HERTEL (Burlesque Interludes)
by EDGAR T. COOK
From Southwark Cathedral
OLIVE B. DAVIDSON
(Violin)
EDGAR T. COOK Toccata Prelude on' Pange Lingua' - Bairstow
OLIVE B. DAVIDSON Allegro Moderato and Andante (Violin - Concerto
in E Minor) - N ardini
EDGAR T. COOK Grail Music, 'Parsifal' - Wagner
Adagio - Vivaldi, arr. Corti
Eighteenth Century Ro. mance - arr. Moffat
Toccata and Fugue in D Minor (Dorian) - Bach
MORLAIS MORGAN (Baritone)
THE GERSHOM PARKINGTON QUINTET
' Twelve Oxen' and other Songs, sung by REX PALMER
' The Selfish Giant' (Oscar Wilde)
With incidental music by Liza Lehmann
'More Things to Remember When Playing
Association Football'
By G. F. ALLISON
Piano Solos by CECIL DIXON
6.0 'My Day's Work'—XII, by Mr. HARRY DALEY , a Metropolitan Policeman
6.15 ; WEATHER FORE
CAST, FIRST GENERAL NEWS BULLETIN
6.30 National Council of Girls' Clubs: Miss
MABEL BRUCE—' Do Theatre Girls need Clubs ?' National Federation of Boys' Clubs Bulletin
VIOLIN AND PIANOFORTE SONATAS OF BACH
Played by ANTONIO BROSA and GORDON BRYAN
HELEN ALSTON (Soprano)
LESLIE HOLMES (Tenor)
THE WIRELESS MILITARY BAND
Conducted by B. WALTON O'DONNELL
Overture, 'Le Roi d'Ys' (' The King of Ys') Lalo 7.56 HELEN ALSTON 8.2 BAND 8.12 LESLIE HOLMES
Go, 8.18 BAND
Three Folk Songs A Farmer's Son so Sweet; Dance to your - arr. Cecil Sharp
Daddy ; The Lover's - Tasks
Brandenburg Concerto No. 3 - Bach, arr. Gerrard Williams
Time, you old Gypsy Man - Besly
I heard a piper piping - Norman Peterkin
The Derby Ram - Hurlstone
Three Dale Dances - Arthur Wood
8.28 HELEN ALSTOY The Kite - Helen Alston
The Organ Man - Helen Alston
In the Parks - Helen Alston
Inconsequence - Helen Alston
8.35 BAND Romanza and Finale, Fourth Symphony - Schumann
8.46 LESLIE HOLMES - French Canadian Folk Songs:
D'ou viens tu bergère - arr. Somervell
La Petite galiote - arr. Somervell
Une perdriole - arr. Veuillermoz
8.52 BAND - Danza Esotica (Exotic Dance) Mascagni
IF your motor goes wrong, it is inadvisable to start pulling it to pieces unless you are an engineer. That, in effect, is the contention of those who advocate the inadequacy of more imprisonment as a corrective for crime. Lord Lytton has always shown the keenest interest in this subject, his speech last October at the Howard League of Penal Reform being an outstanding example of his enthusiasm. In India, as well as at home, he has been active in his advocacy of moral hospitals in the place of prisons.
THE AGUILAR QUARTET OF Lutes: FRANCISCO AGUILAR, Jose AGUILAR,
ELIZA AGUILAR, EZEQUIEL AGUILAR
THE lute is so old an instrument that, as listeners will remember, Orpheus played it.
But, apart from such legendary mention, it has been known since the dawn of history, and in as many different forms as there were countries which knew it. It flourished throughout the Middle Ages, and was for long an instrument in the orchestra ; the last known use of it in that way is in a Handel Opera, and Bach introduced it in one of the ' Passions.' There has always been a good deal of diversity in the tuning of it, which is an added difficulty in deciphering old MSS. of lute music, written, as they are, in a special notation. Sometimes the instrument had strings projecting beyond the side of the neck as well as those which lay along the finger-board, and the number of strings varied greatly.
From old references to it, it is clear that it was a difficult instrument to keep in order. In one frequently-quoted work every lute player is recommended to keep his lute in a bed which is regularly slept in. Even then, the writer adds, it would be necessary for him about once a year to have it taken to pieces and put together again to remedy warping from the tension of the strings. Another writer tells us that any lute player who reached the age of eighty years would have spent sixty of them in tuning his instrument.
It is not much cultivated now, and listeners owe this evening's opportunity of hearing it to the enthusiasm of a family of three brothers and one sister, who have not only got together the four different-sized instruments required for playing together, but have done a great deal in rediscovering and arranging the old music. As is usual in this age of vigorous womanhood, the lady plays one of the biggest of tho four lutes in the team.
THE LONDON WIND QUINTET: ROBERT MURCHIE (Flute), LEON GOOSSENS (Oboe), HAYDN DRAPER (Clarinet), FRED WOOD (Bassoon), AUBREY BRAIN (Horn)
