CECIL LUCAS (Contralto)
TREVOR GLYN (Tenor)

By EDWARD O'HENRY
From Madame Tussaud 's Cinema

LEONARDO KEMP and his ORCHESTRA
From the Piccadilly Hotel

'WHAT THE ONLOOKER SAW (COURSE III)-Miss RHODA POWER: 'VI-A Meeting with the Blackfellowa '

The Casting of the Great Bell (Chinese), Told by Miss RHODA POWER

From the Hotel Cecil
Alphonse du Clos and his Orchestra

'Gopak' (Moussorgsky) and other Piano Solos, played by CECIL Dixon
The Story of ' The Burglar's Bride,' from ' The Phoenix and the Carpet' (E. Nesbit)
Various Songs by ARTHUR WYNN Hints on ' Long-Distance Running,' by H. M. ABRAHAMS

This is the last of Mr. Judge's series of talks on bee-keeping, and will deal with apiary work during the Summer and with the question of how best to treat the honey-harvest when it has been gathered in.

; WEATHER FORECAST,
FIRST GENERAL NEWS BULLETIN

MANY listeners will recall the second talk of this series, during the course of which a young club leader, Ernest Hickman , put forward some highly interesting views on the question of self-government in clubs. Mr. H. McG. Eager, who is talking on this same subject tonight, has done a considerable .amount of work in connection with young people's organizations and is now associated with the National Institute for the Blind.

BEETHOVEN'S PIANOFORTE SONATAS
Played by EDWARD ISAACS
Sonata in A Flat, Op. 26 (The Funeral March
Sonata)
Andante con variazioni; Scherzo; Marcia funebre (Funeral March)

A Reading by Monsieur E. M. STÉPHAN from ' Petits Chefs-d'OEuvres Contemporains ' (Boum-Boum), from ' Le soir, Jacques Legrand ,' line 24, p. 5, to '... non, ce n'est pas Boum-Boum,' line 28, p. 7

Williams and TAYLOR (America's Foremost
Comedians)
' Don't Argue'
SID PHILLIPS
(The Celebrated Saxophonist from the Cafe de
Paris)
LEONTA PROCTOR (Soprano)
THE MAESTROS
(Five Masters of Marvellous Melody)
JACK PAYNE and THE B.B.C. DANCE ORCHESTRA

WEATHER FORECAST, Second GENERAL NEWS
BULLETIN

ROBERT MAITLAND (Baritone)
THE ZIMMER STRING QUARTET:
ALBERT ZIMMER (Violin): FREDERICK GHIGH (Violin); EDOUARD PIEL (Viola);
EMILE DOEHARD (Violoncello)
THE form of the first movement is unusual. It begins with a gently moving Allegretto, built up on a happy tune like a rather swift Barcarolle, from which lively little variations are made, and then the movement passes to a brisk Allegro whose tune is the same as the beginning of the first part.
The slow movement, although called ' 'Sad'
(Mesto) has really nothing deeply melancholy about it, and the fine big tune with which the first violin opens the movement is quite a serene and contented one. There is a little hint of sadness when the same tune appears later on the lower strings, but on the whole the movement is like Haydn's inimitable good spirits.
The Minuet and Trio are both brisk and light. footed, and the last movement is really frolicsome and gay. Anyone who can listen to its almost mischievous good spirits without a thought of laughter is indeed in a sorry frame of mind.

Assai, sostenuto—Allegro;
'Allegro ma non tanto ; Heiliger
Dankgesang eines Genesenen an die Gottheit, in lidischer Tonart; Molto adagio ; Neue Kraft fuhlend (feeling new strength); Andante — Molto adagio — Andante — Molto adagio, mit innigster Empfindung; Alla marcia, assai vivace; Recitative, attacca; Allegro appassionato
IT has been pointed out before how much of Beethoven's own personality is expressed in the last great String Quartets, and of none is that more true than of this one.
The first movement begins with a slow and solemn introduc. tion in very quiet tone, and then the first violin breaks in with a nourish at the opening of the quick part of the movement. Almost at once the violoncello has a little snatch of the theme which is afterwards played in full by the first violin, and all through the movement it will be heard now in one voice, now in another.
The second movement is a form of Intermezzo with alternative section, and the third, a very splendid and beautiful slow movement, is the one which gives the Quartet its name.
The last movement opens with a robust march theme and a little later there is a splendid flowing tune, one of the noblest of all Beethoven's melodies, which forms the basis of most of the movement.

The series of hands at Auction Bridge having now reached its conclusion, will be followed by a series of demonstrations on the new game of Contract Bridge, now so popular among bridge-players. Mrs. Robinson is well known as one of the best exponents of the game. This evening she will explain the main points of difference between Contract and Auction Bridge, her talk being punctuated by queries from a ' pupil.'

Jay Whidden 's Band from the Carlton Hotel