The Rev. EDWIN SMITH : ' Central
Africa-The Ila People'
THE ilia-speaking tribes-called spitefully by their neighbours
, 'Mashukulumbwe,' on account of the way they do their hair, or 'Matjokotjoko ' because of their accent -live in Northern Rhodesia. They had never seen a white man before they were visited by Livingstone in his Zambesi trip of 1855. Mr.
Edwin Smith, who has given talks before on Africa and on languages, was missionary there from 1898 until the War, when he became a Chaplain to the Forces. He is among the few living people, apart from the Ila tribes themselves, who
' know their language and, unlike them, he can write it; he has, for example, translated the New Testament into Ila. This is the first of a series of talks similar to those on ' The Day's Work in Other Lands ' last spring, and ' The Romance of Everyday Things' in the summer, both of which evoked streams of appreciative letters. It is hoped that this series will meet the widespread demand for more of the same.'

relayed from
THE National MUSEUM OF WALES NATIONAL ORCHESTRA OF WALES (Cerddorfa Genedlaethol Cymru)
(Leader, LOUIS LEVITUS )
Conducted by WARWICK BRAITHWAITE
(From Cardiff)

MOSCHETTO and his Orchestra
From THE MAY FAIR HOTEL

Sung by Evelyn Arden and George Parker
Until his thirtieth year, Schumann had written only pianoforte music, but in 1840, the year in which, after many delays and obstacles, he was at last happily married to Clara Wieck, he threw himself into song composition with such enthusiasm that by the end of the year he had produced over one hundred songs. He says himself in one of his letters: I am now writing nothing but songs, great and small. I can hardly tell you how delightful it is to write for the voice as compared with instrumental composition, and what a stir and tumult I feel within me when I sit down to it. I have brought forth quite new things in this line.' His songs are often compared with Schubert's, and, in their freely soaring melodies, the two masters have indeed something in common. But Schumann had a much more highly cultivated literary sense, and his poems are chosen with a far better idea of lyrical values than some of Schubert's.
The pianoforte parts, too, have an importance which is easily explained by his long devotion to composition for the instrument, and to the wonderful way in which ho exploited its possibilities. The accompaniments are varied in the most poetic way, always admirably fitted to the character of the poem he is setting. Sometimes they are almost like pianoforte pieces, along with which the voice merely declaims the poems; at other times the voice is very slightly supported, the pianoforte emphasizing the sentiment with an expressive prelude or little epilogue in which the meaning of the text is rounded off. Almost all of them are essentially songs of youth, and the sets of love songs express both a man's and a woman's sentiments with a depth of feeling and understanding which is hardly equaled anywhere in the whole realm of song.

Mr. DESMOND MACCARTHY

by JAN SMETERLIN

A Domestic Comedy by E. M. DELAFIELD
(Recently performed at The Ambassadors'.
Theatre)
Produced by PETER CRESWELL

WEATHER FORECAST, SECOND GENERAL NEWS
BULLETIN

(Smetana)
Act III—A Village Street)
Relayed from THE ROYAL OPERA HOUSE, COVENT
GARDEN
Gast
Conductor, JOHN BARBIROLLI
THE story of The Bartered Bride concerns Marie, daughter of a well-to-do farmer, and her betrothal to the son of Micha, a lad, by name Wenzel, whom she has not even seen. The arrangements have been made through Ketzal, a marriage-broker. However, Hans, whom Marie really loves, moans to win her for himself.
The situation at the end of the second act is that Marie, without making herself known to Wenzel, has contrived so to fascinate him that he swears he will have nothing to do with the girl his parents have chosen for him ; while the marriage-broker has succeeded in buying off Hans in favour of ' the son of Micha,' to whom alone Hans will surrender his claim to Marie.
The broadcast is taken up at this point. The scene represents the village square. A fair is in progress. Wenzel's love affairs are going all wrong, but, with the entry of a circus troupe, ho succumbs at once to the pretty dancer of the troupe. It appears that the man who ought to play the part of the bear is hopelessly drunk, and Wenzel is persuaded to take his place. He stays behind the troupe to practise his bear's dance, in the midst of which his parents and Ketzal arrive to find him. He refuses firmly to take Marie for his bride, and hurries away. Before they can follow him, Marie rushes in, her parents after her. She cannot believe that her ]over has cheerfully given her up for money. While her mother seeks to comfort her, Wenzel returns, and recognizing Marie, rejoices to learn that she is his chosen bride. She begs, however, to be left alone for a little. Hans finds her and teases her mercilessly. Ketzai finds them, and soon afterwards the villagers, along with Micha, who recognizes in Hans his long-lost elder son. The meaning of Hans' acceptance of the contract is now clear, and it remains for Marie to choose, which she does to everybody's satisfaction. Micha agrees to be reconciled to his son and to give the young couple his blessing, and the story ends with universal rejoieing.

MAURICE WINNICK and his BAND, from THE PICCADILLY HOTEL