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Mr. Stanley Casson is a Fellow of New College, Oxford, and University Reader in Classical Archaeology. He was also at one time Assistant Director of the British School at Athens and Director of the British archaeological excavations in Constantinople during 1927-8. In his first talk this evening Mr. Casson is to discuss Sparta, that one 'city of ancient Greece that had no walls; whose organization was a supremely militarist democracy; and whose food and education were probably the harshest, that the young of any nation have been called upon to endure. Spartans were the most splendid animals of the ancient world.'

8.0 8.30 (Daventry only) Mrs. BARBARA WOOTTON : Some Modern Utopias-I, Bellamy's Looking Backward' fPHIS is the first of a series of six talks to be given by Mrs. Wootton, who is Director of Studies for Tutorial Classes at the University of London. She was principal of Morley Collego for Working Men and Women during 1926-7, and a member of the Departmental Committee on the National Debt and Taxes in 1924. In her scries of six talks she will review Utopias from Bellamy to Wells.

Selection, 'Gipsy Love - Lehar
7.58 ESTHER COLEMAN Hush'd is my Luto - Phillips
The Tea Caddy - Kenneth A. Wright
Smiles - K Heron Maxwell
8.5 QUINTET Demaude et Réponse - Coleridge-Taylor
First Valse - Durand
8.15 DAVID HUTCHISON Tom Tyler - Peter Warlock
Denny's Daughter - D.M.Stewart
Alawsuit - D.M.Stewart
A Cotsal' Wood - M. Harwood
8.22Esther Cole MASi, Alabastu (The .Golden Threshold) - LizaLeJwiahn
The South Wind - Helen Fothergill
An Old French Air - Lully (1664) arr.Helen Fothergill
8.30 QUINTET Selection, 'Tales of Hoffmann ' - Offenbach
8.42 DAVID HUTCHISON Jenny, I'm not jesting - Offenbach
The Foggy Dew - Offenbach
O this is no my ain Lassie - arr. Stephen
8.50 QUINTET , Serenade - Toselli
Tho Bee - Mendelssohn
Lullaby - Cyril Scott

by SUMNER AUSTIN (Baritone) and SOLOMON
(Pianoforte)
IN this country it used to be said of Brahms' songs that they were difficult* and ungrateful to sing, and that ho evidently had ho sympathy with the voice as an instrument of music. It is complete nonsense, as has long ago been realized; it is, indeed, difficult to believe that anyone ever thought it true. Almost more than any other of the great composers, he has drawn on folk music for his songs, some times taking a folk tune and setting it' very simply and eloquently with his own accompaniment, sometimes developing a fragment of folk tuno into a melody of his own, and sometimes inventing melodies so simple and natural that they can easily bo mistaken for folk songs. They range through a very wide field of emotion and expression ; many of the best are love songs.
Only once or twice did he choose .to set narrative ballads; more often he delights in presenting a mood of Nature, the meditations of a. thoughtful spirit in the open air.

5XX Daventry

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This data is drawn from the Radio Times magazine between 1923 and 2009. It shows what was scheduled to be broadcast, meaning it was subject to change and may not be accurate. More