YVONNE MORRIS (Violoncello)
ADOLPHE BORSCHKE (Pianoforte)

IN case there are any listeners left who have not already succumbed to the attractions of the Riviera or the Rhine,
Umbria or Alsace or any other of the regions whose charms have been so eloquently described in this series of talks, - they have an excellent chance to make up their minds about their holidays this afternoon. The Dolomites, the range of mountains running between Italy and Austria, abound in lovely scenery, and Mr. Tatchell is one of the most accomplished guides that any intending traveller could have.

From Reveille to Sundowna day at an R.A.F. Aerodrome, written and told by JAMES HENRY and certain others

BRAHMS' PIANO WORKS
Played by HOWARD JONES
Scherzo from Sonata in F Minor, Op. 5
Waltzes from Op. 39
BRAHMS' Op. I (published in 1853, when he was twenty) was a work for, Piano,
Ho began his career as a pianist, and during his early years of composition he tackled tho Piano Sonata form several times. He had not yet learnt how to make- the beat of the keyboard, especially as regards delicacy and colour. His further study of the possibilities of tho Pianoforte was made through the medium of Variations, of which he had written some half-dozen sots by 1866. Then, for about a dozen years, he almost entirely ceased to write music for the Pianoforte alone, his next work (Op. 76, in 1879) being a set of eight pieces, four entitled Capriccio and four Intermezzo. The titles broadly indicate tho two types of piece, the one brisk or vigorous, the other quieter, sometimes almost grave.
These titles, with Rhapsody (thrice), Ballad and Romance (once each) are the only names Brahms gave to the thirty pieces that constitute the bulk of his middle and later poriod Piano music-a collection of works, mostly in simple forms, that abound in interest and vitality, and in emotional breadth and purity. In this, as in most of Brahms' music, the emotion is not superficial. There are charms upon the surface, but some of the best must be sought a little beneath it.
Brahms was fond of internal melodies and cross-rhythms (for example, two notes to a beat in one hand against three to the boat in the other), and to the lyrical beauty of his music is added a bracing ruggedness of outline.

IN Stephen Leacock our generation possesses a humorist of the very first. rank ; a writer who, for sheer ' funniness,' can fitly bo compared with Dickens in his most ridiculous mood. Also, he is a satirist- of- society to a degree that might not be immediately apparent to an unobservant reader, but that may become more perceptible to- those who listen to Mr. Pearse's concluding talk.

WILLIAM STEPHENS (in Light Ballads)
THE CORSO QUINTET
(A Quintet of Guitars and Ukuleles)
Wish WYNNE (Character Studies)
WILL EVANS (Comedian)
Lily BURNS and NORMA PARRY
(Pot Pourri of Songs)
THE B.B.C. DANCE ORCHESTRA
Personally conducted by JACK PAYNE

(The Famous Discuse)
In Songs from her Repertoire .
Relayed from the Arts Theatre Club
THE art of the ' diseuse' is not one in which
England excels ; our own stage has produced no one who can hold an audience, alone, throughout a whole performance, with the sheer personality that she puts into her recitations and her songs, in the way that Ruth Draper has made famous in America and Yvette Guilbert in France. Tonight listeners will have a chance to hear the Parisian shopgirl of forty years ago, who has held two Continents spellbound by the magic of her voice and the eloquence of her hands -those black-gloved hands that Toolouse-Lautreo drew so wonderfully when Yvetto Guil bort was the sensation of the artistic world oi the ' Yellow Book' days. They will not see the hands, but this evening's broadcast from the Arts Theatre Club will be for many a unique and invaluable opportunity of .hearing ono of the really great artists of our time.

:. AMBROSE'S
BAND, from the Mayfair Hotel