JESSIE CORMACK (Pianoforte)

Personally conducted by JACK PAYNE

By HAROLD DARKE
Relayed from St. Michael's, Cornhill

ENGLAND has borrowed brains and ideas from many countries in the course of her history since the Romans came, and in this afternoon's talk Miss Rhoda Power will tell the story of one very profitable loan from abroad, when Dutch engineers came over to reclaim the Fen country from the sea.

— ' How Sir Launcelot rescued the ten '

By NORAH DAHL (Soprano)

From the Park Lane Hotel

' In Bushranger Days,' an Adventure Story by Percy Dent
Somo Piano Solos by CECIL DIXON
' Hints on Training for School Sports,' by GEORGE NICOL
' Daisies,' ' A Sea Song,' and other songs sung by GEORGE Dixox

Personally conducted by JACK PAYNE

(Continued)

CHOPIN'S NOCTURNES
Played by EDWARD ISAACS (Pianoforte)
Nocturne in D Flat, Op. 27, No. 2
Nocturne in C Sharp Minor, Op. 27, No. I
CHOPIN was not the inventor of the Nocturne.
That. distinction belongs to the Irishman. John Field ; but Chopin had a wider emotional range and a finer feeling for the possibilities of the piano than had Field. Though Chopin's first Nocturnes are not unlike those of the Irishman, he very soon shows his developing imaginative power and technical freedom.
The Nocturnes, like many other of Chopin's pieces, are capable of bearing a good many poetical interpretations. In some the basic feeling is very clear. The D Flat Nocturne, for example, is full of luscious sentiment. The one in C Sharp Minor has provoked imaginative flights ranging from comparison with the song of a monk to a picture of a foul murder at sea !
The attraction of this music does not, of course, consist in its I eing supposed to represent or suggest this, that or the other, but in the fact that it has moods and real emotions, and that the player's imagination, working on the composer's material, transmits some clear mood and emotion to us.
The various Nocturnes played throughout the week may thus appeal in widely differing ways to listeners of differing temperament, each hearer giving some personal colour to the music as it passes through the prism of his own imagination.

JULIAN RosE (the Hebrew Comedian)
YVETTE DARNAC and BERNARD CLIFTON
(Light Songs)
KATHLEEN O'REGAN (Irish Humour)
SANDY ROWAN (Scots Comedian)
BILLY HILL (Siffleur and Vocalist)
THE THREE NEW YORKERS (in Harmony) and the B.B.C. DANCE ORCHESTRA, personally conducted by JACK PAYNE

Henrik Ibsen, the man who was to become the greatest force in the European drama of the day, was born on March 20, 1828, and this week the whole of the civilized world is paying homage to his memory. Broadcasting is taking its part with two performances of The Master Builder (from 5GB at 7.30 this evening, and from London tomorrow at 9.40), and one of Peer Gynt tomorrow from Belfast, and in this talk Miss Elizabeth Robins, the authoress, who was famous in the 'nineties as an actress of Ibsen's heroines, will discuss his life and work.

by THE CIVIL SERVICE CHOIR
Conducted by STANFORD ROBINSON
MAVIS BENNETT (Soprano)
ARTHUR CRANMER (Baritone)
ORCHESTRA under the leadership of S. KNEALE KELLEY
Chorus assisted by Members of THE RAILWAY
CLEARING HOUSE MALE VOICE CHOIR
Relayed from the Kingsway Hall, London
ARTHUR CRANMER, Chorus and Orchestra Five Plantation Songsarr. Stanford Robinson Kcmo. Kimo; Who's dat a-calling 1 ; Li'l Liza Jane; Old Folks at Home; Pollywolly-doodle
COMMUNITY SINGING in which the Audience will bo accompanied by the Chorus and Orchestra

by VICTOR RELY-HUTCHINSON
THE Prelude of Franck begins with a fine broad, march-like tune, containing some characteristically Franckian modulations, the music melting through various keys rather than changing sharply from one to another. This occurs three times in all, with other themes intervening. Then some introductory harp-like music leads in the Aria, which is calmly and simply given out. After that, it occurs many times, in various positions on the keyboard.
The Finale begins with very soft, rapidly-running notes, out of which emerges first a minor-key theme, and then a bold, martial tune.
The minor-key tune begins again, and then the chief tune of the Aria sings out aloft.
The earlier themes of the Finale now return, and then we have a reminiscence of the work's First Movement. So the piece moves quietly to its end.

(Monday's Programmes continued on page 550.)