By HAROLD E. DARKE
From St. Michael's, Cornhill

THE villein, bound to the soil, still, survived in the fourteenth century, though the commutation of compulsory services for payments in money had abolished villenage on many estates. In her talk this afternoon Miss Rhoda Power will describe the life and home of a typical villein's family of the older kind. '

THE story that will be told tonight is one of the oldest in the world—the tale of Jason and his Argonauts, who sailed to Colchis to capture the Golden Fleece, and of the many strange adventures that befell them before they brought it back.

EGGS have at least one virtue that should recommend them in these days of campaigns for clean food-they are one of the few foodstuffs that cannot be adulterated. A new-laid egg compares favourably in food values with such more expensive foods as milk and meat. These are some of the many reasons for listening to the talk on eggs that Mr. Gatecliffe will broadcast this afternoon, in which ho will refer especially to the thorny question of their ago.

A Birthday Party, by ' The Family '
THESE family Parties in which only members
THESE family Parties in which only members of the Staff take part seem to be more popular than any other sort of programme given in The Children's Hour. Often listeners send letters of regret that ' Uncle Soand-So ' did not take part in a ' party ' of: this kind, but almost all those invited to assist on such occasions are busy people, and sometimes they-cannot get away from their other duties. It is hoped that this special Birthday Programme will be a particularly pleasing one, and everybody is being asked to do his, or her, best to make it so.

Played by James Ching
Fugues 1, 2, and 3

In the last years of his life Bach wrote two notable works, illustrating the possibilities of composition, especially in fugal style. One of I these was the Musical Offering which he dedicated to the King of Prussia, and the other, a project which crystallised in his mind at the same time, was this Art of Fugue, a series of pieces based on one theme - a treatise in sound. He died before it could be completely engraved. When it was published, very few copies were sold, and Bach's son sold the plates from which it was printed for a very small sum. Musicians have long recognised the marvellous skill and force of the work, in which, with supreme ease; Bach manipulates his material in a number of the most elaborate combinations.

There are in all fourteen Fugues and four 'canons' (in which a tune is 'shadowed,' so to speak, a few notes or bars behind, its shadow-copy imitating its every movement).

This is the tune Bach chose for such varied treatment:-

In each of the Fugues played tonight four parts or 'voices' (with which term listeners are doubtless by now familiar) take up the tune in turn, the preceding voices meanwhile going on with running 'counterpoints' to the tune and to each other, so that the harmony is ever full and satisfying, yet each voice lives its individual life (for after each has started like its fellows, it goes off independently). Constantly there are bits of 'imitation' by one voice or another, and parts of the theme, as well as its whole form, are used for treatment. Bach in the First Fugue makes an abrupt break when he has worked at his theme as much as he wishes, and adds a Coda to wind up. The the Second Fugue he begins with the tune as before, though in the Bass: but this time he puts its last few notes in a jiggy rhythm which becomes a notable feature of the whole Fugue.

The Third Fugue sets the tune on its head - 'inverts' it, so that where a note formerly rose to the next, now it falls, and vice-versa.

By THE STATION STAFF

or Love in a Dutch Garden
By Laurence Housman and H. Granville-Barker
The Music by Joseph S. Moorat
Abridged and Arranged for Broadcasting
Produced by Howard Rose
Dramatis Personae:-
Act I
Love, in the person of Pierrot, comes to the maiden, Prunella, in the garden of the prim old house in which she lives with her aunts. Leading from the house is a porch, and in this hangs a caged canary, while standing over a fountain is a statue of love with viol and bow. The garden is enclosed by high hedges cut-square.
Act II
Night has descended on the garden. The light of the Moon falls across the top of the hedge and strikes the head of the fountain statue. When all is quiet, Pierrot and his companions steal in.
Act III
Three years have gone by, and now the garden is overgrown, weedy, and neglected. The fountain is moss-grown and thick with creepers. The house is 'To Let' and all is fading in the light of Sunset.
(See special article on page 309)

under the d rection of RAMON Newton , from Ciro's Club.