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S.B. from Bournemouth
This disastrous species of blood-sucking fly received no attention until the close of the nineteenth century, when the researches of Ross (in India) and Grassia (in Italy) made it clear that the mosquito was largely responsible for the dissemination of malaria. It is not generally realized that there are some fifteen hundred species of mosquitos and that, although they thrive best in the tropics, they are also to be found in the Arctic regions where not only arc there no human beings to give them blood, but no quadrupeds even. Mr. J. F. Marshall, who is giving this talk, is Director of the British Mosquito Control Institute on Hayling Island, and he will tell us something of the work of this Institute in fighting one of man's most insidious enemies.

Source: Radio Times
2LO London
on 2LO London

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LAST week, Mr. Roger Fry gave an introductory talk on the great Italian Exhibition now on view at Burlington House. This week Mr. Wilenski, the art critic and lecturer, remembered by listeners for his ' Miniature History of Art' in The Radio Times, gives a further talk on this unparalleled opportunity for Englishmen to view, in one building, some of the loveliest fruits of Italian genius.

Source: Radio Times
2LO London
on 2LO London

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Relayed from ST. ANDREW'S HALL,
GLASGOW
THE SCOTTISH ORCHESTRA
Conducted by VLADIMIR GOLSCHMANN
THE third ' Leonora ' Overture begins with a solemn descending scale, and then we hear the beautiful air in which in the opera, Florostan.the hero, sings of the happy springtime of his own youth. Leonora appears with the beginning of the quick section, in a very beautiful Theme eloquent of noble strength and dignity. A little later another impressive theme reminds us once more of Florestan and his unhappy lot in prison. After these have been set forth there is a dramatic moment when the whole orchestra falls silent and a trumpet call is heard from without. In the opera, the same trumpet call announces the arrival of the governor, through whose coming Florestan is released from his unjust imprisonment. A quiet theme on the woodwinds expresses the dawning of hope in the prisoner's heart, the trumpet call is heard again, and the theme of hope grows stronger. All the former themes return, lending the music a note of exaltation, and the Overture ends with a great song of joy in which the first Leonora theme rings out triumphantly.
TCHAIKOVSKY began a sixth Symphony in mid-
Atlantic—so his diary tells us —on his voyage from the States in the early summer of 1891. But the work did not please him, and ho destroyed it, beginning immediately afterwards the new sixth Symphony, with such enthusiasm and energy that the whole thing was clearly outlined in his mind in less than four days. He wrote of it as a Symphony with a programme, ' but a programme of a kind which remains an enigma to all-let them guess it who can,' and his intention was to call it ' A Programme Symphony.' The work was completed by August of that year, and Tchaikovsky had no doubt himself that it was the finest music he had ever composed or would compose, a conviction in which many of his admirers share. The name ' Pathetique ' was suggested by his brother, and though Tchaikovsky agreed, he changed his mind and wrote afterwards to the publisher asking him simply to call it Symphony No. 6.

Source: Radio Times

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This data is drawn from the Radio Times magazine between 1923 and 2009. It shows what was scheduled to be broadcast, meaning it was subject to change and may not be accurate. More