In her Famous Imitations of Well-known Stage Favourites and some Original Monologues

Miss Marie Dainton is well known not only for her imitations of such widely different personalities as Sybil Thorndike and Marie Lloyd, Jose Collins and Sophie Tucker, but also for her original songs and monologues. Even those of her admirers who have seen her often on the stage will find that over the microphone Miss Dainton develops quite a new personality. She does not merely broadcast one of the acts that have been so successful at such famous London halls as the Coliseum, Palladium, Alhambra, and Queen's Hall; she adapts herself to the new medium, and her admirers will this week hear something quite new.
To-morrow Cardiff listeners will hear Miss Dainton; on Thursday she is broadcasting from Manchester, and on Friday from the Bournemouth Station.

Relayed from the Institute, West Bromwich
FRANK WEBSTER (Tenor)
NIGEL DALLAWAY (Pianoforte,
The STATION ORCHESTRA, conducted by JOSEPH LEWIS
THIS piece celebrates the salvation of Russia from Napoleon. It was written for the consecration of a church in Moscow which had been erected in thanksgiving for that event, and it was to be performedin the open air by a huge military band, with cannons firing—all very grandiose ! That ceremonial performance, alas, never took place.
THIS is, perhaps, the most popular of Grieg's larger works. It was written in 1868, when the composer was twenty-five years old. There are three Movements, the first of which will be played to-night.
1. Moderately Quick. After a preliminary flourish on the Piano, the First Main Tune, vigorous and romantic, is at once given out. It consists chiefly of a little curt phrase in Woodwind, and a more suave phrase, which is at first given to Clarinet and Bassoon, and then repeated at great length and more fully orchestrated. This whole (fairly long) Tune is repeated on the Piano (lightly accompanied by Strings). Then follows a loligish passage of rapid, light-handed work for the Piano and Strings and Woodwind.
At the end of this there is something of a climax, and then omes the beautiful Second
Main Tune, a tranquil phrase given to Cellos (with soft Trombone, Horn and Bassoon chords), which is echoed by Clarinet and Flute. It is immediately taken up by the Piano, and eloquently elaborated.
The rest of the Movement is closely woven out of this material.