Violin Concerto (Brahtns)

HUGH CROSSLEY (Tenor)
JOHN SISSERMAN (Violoncello)
CHARLES LYNCH (Pianoforte)

Mr. A. LLOYD JAMES: Speech and Language'

From Westminster Abbey

LAST week Miss Margaret Bondfield opened this series of talks by describing a day in the life of a woman M.P. This afternoon it will bo continued by another woman very prominent in public life-Mrs. Emmet, who is one of the youngest members of the London County Council, chairman of one of its committees and a member of several others, and who at the same time succeeds in running a family and a home.

MARY BONIN (Soprano)
WILLIAM BARRAND (Baritone)
The CELTIC HARP TRIO

' THE RELUCTANT DRAGON'
An unusual version of an old legend (as set down by Kenneth Grahame ) will be told, with certain dramatic effects
THE GERSHOM PARKINGTON QUINTET will play selections from Sullivan

MISCELLANEOUS SONGS OF SCHUBERT
Sung by ANNE THURSFIELD (Soprano)
Aus Heliopolis (I)
Der Jungling und der Quelle
Der Vater mit dem Kind
Um Mitternacht

IN his second talk Mr. Cole describes the England of the period of Tom Paine and Burke, and the effects of the world-wide revolu. tionary ferment as exemplified in the American War of Independence and the French Revolution. He explains the development of the revolutionary movement in England, the controversy between Paine and Burke, and goes on to deal with the great war against revolutionary France, and the social effects produced in this country when peace at last returned after Waterloo.

Relayed from the Free Trade Hall, Manchester
S.B. from Manchester
The Hallé Orchestra
Guest Conductor, Ernest Ansermet
The actual date and place of the birth of our great English composer have never been quite definitely fixed; all that one can say certainly is that Purcell was born in 1658 or 1659, in London, and that he died there in 1695. Nor can we say with any certainty exactly when many of his greatest works were produced, and had it not been for the industry and enthusiasm of the Purcell Society, comparatively few of the works themselves would be known to us today. As it is, we possess a great store of music, grave and gay, for almost every known combination of voices and instruments, ranging from opera to quite small pieces. The great wealth of beauty, and, above all, the utter sincerity of all that he wrote, are steadily reaching wider popularity, and it is quite safe to prophesy that his place of honour in English music is for all time assured.
Arthur Bliss who has arranged a number of Airs and Dances of the old Master in the form of a very effective Suite, has long ago made his own mark on British music. Although quite definitely one of the moderns, there is nothing in his music which would justify the term 'decadent,' so often hurled as a reproach at the young men of today. It is too virile and sane for that; an enthusiasm for the fresh wholesomeness of Purcell is of itself almost sufficient evidence of sanity.

THE three Nocturnes for full orchestra by Debussy, of which two are now to be played, are already among the best known and most popular of his purely orchestral works. Their names are sufficient clue to the images their music would present, and in any case, like all Debussy's work, the music is of too subtle and elusive an order to be analyzed in any conventional way.

Fred Elizalde and his Savoy Hotel Music, from the Savoy Hotel