Jupiter Symphony (Mozart)

DORIS SMERDON (Contralto)
ALBERT HALLET (Tenor)

Directed by GEORGES HAECK From the Restaurant Frascati

Eleanor Toye (Soprano)
The Entente String Quartet: Cecil Bonvalot (1st Violin), Dorothy Churton (2nd Violin), James Lockyer (Viola), Edith Churton (Violoncello)

How it happens that in this country listeners regard string quartet music as difficult to enjoy, is among the mysteries which are specially hard to solve. There is no music in the world better fitted for hours of case and relaxation by the hearth of an evening, and, if it had been called 'Fireside Music,' its simplicity and essential homeliness might have been better realized. Whether one takes pleasure in recognizing the forms of the different movements, the reappearances of the different tunes, whether one listens simply to the tunes themselves as a happy rest for the tired mind, the string quartet offers literally infinite delight. Every player of a string instrument knows for himself, or herself, that it is the best form of what a wise American writer calls, 'the sport of chamber music' - in the best sense of the words, joyously good fun.

The string quartets of Haydn are almost all full of bright spirits, and even of mirth. The one to be played at the end of this programme begins with a more serious strain than some, but very soon 'Papa,' as the whole world of music affectionately calls Haydn, breaks off into something very like chuckles.

The slow second movement, very short, has a hint of wistfulness in its tune. but it, too, is interrupted by merry little runs in the first violin part.

The two tunes in the third Movement - the Minuet which begins and ends it, as well as the one in the middle section called the 'Trio' - are both full of the most charming grace, and the last Movement, energetic and vigorous, makes a good deal of use of the device of syncopation which runs riot in modern dance music.

The first of the two quartets in this programme is by the Hungarian composer, Dohnanyi, well known to us in this country as a brilliant pianist. His quartet, too, is in four distinct Movements, differing from Haydn's only in their rather more elaborate build, but no less tuneful and melodious. The First Movement has a slow introduction, whereas, Haydn's begins at once with the customary quick section.

From Madame Tussaud 's Cinema

A FAMILY PARTY
-wherein as many of THE CHILDREN'S Hour FAMILY as can be gathered in will celebrate another Birthday

Sung by Anne Thursfield (Soprano)

Der Zwerg Schlaflied

Die Rose

Ave Maria

CHILD WELFARE is a subject that has always been to the fore at Geneva, and in this connection the League of Nations has done much useful work. Dame Rachel Crowdy , who gives this evening's talk, is chief of the Opium Traffic and Social Questions Section of the League.

IN the final talk of this series Mrs. Wheeler leaves the general for the particular, and discusses in detail the method of rehearsing the Trial Scene from The Merchant of Venice, the scene in which she once played herself with Ellen Terry as ' Portia.' She describes the balance and importance of the scene, and the grouping and climaxes to be aimed at, with the points which should be pro-pared for and emphasized.

An Historical Play by Henrik Ibsen
Translated by William Archer
Adapted for Broadcasting in Eight Scenes by Dulcima Glasby
Produced by Howard Rose
Incidental Music by Norman O'Neill

The Characters:- [see below]

Populace and Citizens of Bergen, Oslo and Nidaros
Priests, Monks and Nuns Guests, Guards and Ladies
Men-at-Arms, etc., etc.
Period: Norway in the First-half of the Thirteenth Century
Incidental Music by the Wireless Orchestra
Conducted by John Ansell