By EDGAR T. COOK
Relayed from Southwark Cathedral

LEONARDO KEMP and his
PICCADILLY HOTEL ORCHESTRA from the PICCADILLY HOTEL
2.0-2.25 (Daventry only) Experimental Transmission of Still Pictures by the Fultograph Process

JACK PAYNE and the B.B.C.
DANCE ORCHESTRA

' But now I am Six, I'm as clever as clever ! ' More ' Very Young Songs ' (Fraser-Simson), sung by DALE SMITH
' Busy ' and ' The Knight whose Armour didn't
Squeak ' from ' Now we are Six ' (A. A.
Milne)
' Eeyore ioins the Game ' from ' The House at
Pooh Corner ' (A. A. Milne)

: WEATHER FORECAST.
FIRST GENERAL NEWS
BULLETIN

BEETHOVEN'S VIOLIN
AND PIANOFORTE
SONATAS
Played by WINIFRED
SMALL ( Violin) and MAURICE COLE
(Pianoforte)
Sonata in A Minor,
Op. 23 (continued)
Allegro molto
Sonata in C Minor,
Op. 30
Allegro con brio

MRS. MARION CRAN the doyen of all listeners who are also amateur gardeners, takes us on an imaginary walk round that garden of hers, in Kent, about which listeners have already heard some enticing facts. She will describe the progress of the garden and tell how well the avenue of John Downie (a crab-apple) is doing.

GWLADYS NAJSH (Soprano)
STERNDALE BENNETT (Entertainer)
THE WIRELESS ORCHESTRA Conducted by JOHN ANSELL STERNDALE BENNETT Selections from his own SongsSTERNDALE BENNETT Selections from his own Songs

WEATHER FORECAST, SECOND GENERAL NEWS
BULLLETIN.

Tatiana Makushina (Soprano) John Barbirolli (Violoncello) Ethel Bartlett (Pianoforte)

John Barbirolli and Ethel Bartlett

The great Bach left six splendid Suites for violoncello alone, and the violoncellist speaks of these reverently and affectionately as his 'Old Testament.' But he has laid hands, too, on three Sonatas which the great Johann Sebastian left for viola da gamba and cembalo. Adapted for violoncello and the modern pianoforte, they are much more often played as if they really belonged to these two instruments, although their delicacy and light texture are better suited for the two old-world instruments, and do not call upon anything like the full strength of their present-day representatives.

The first of these, in G, begins with a gentle moving Allegro movement, in which the two players have shares of the same melody, in the imitative way of such movements in that age.

The little slow movement, very simple, and built up throughout on one unchanging figure, is a very beautiful example of the effects which the great Bach could make from such slender material: and the third, like the first, is an Allegro, and makes similar use of the device of imitation. It is brisker and more light-hearted than the first, without its suggestion of quiet meditation.

The six Sonatas, of which this one for violoncello and pianoforte is the first, are dedicated by the composer to his wife. This one appeared in 1915. The first movement, in slow time. is like a Prelude.

It is followed by a Serenade which begins softly and delicately with the violoncellist playing plucked notes. Then he and the pianoforte join in a two-fold theme, the violoncellist being instructed to play the beginning of his 'with irony' and then to become expressive. The movement hurries, to become very vivacious for a moment, and then gradually slows again to resume the first speed with an echo of the opening tune.

Without a break it leads straight into the last movement, longer and more fully worked out than the first two, but beginning. like the second, in a very slight, delicate tone. The violoncellist soon has a little expressive melody, very high, and, after a short capricious section, there is another broad tune, fiery and impassioned. But the mood still changes more than once, and towards the end the tune which the violoncello played in high register is heard again.

THE PICCADILLY PLAYERS, directed by AL STARITA , and the PICCADILLY GRILL BAND, Directed by JERRY Hoey from the PICCADILLY
HOTEL

from the Cafe de Paris