Mrs. NOEL BAKER : ' Greeco '
GREECE is another of those Balkan countries that are so rich in picturesque customs and ceremonies. Mrs. Noel Baker is well qualified to talk about Greece : she owns estates in that country, and has spent a great part of her life there. She is a friend of Dr. Nansen, the great Norwegian scientist and explorer. Her husband, Mr. Philip Noel Baker , was M.P. for Coventry, and Parliamentary Private Secretary to the Foreign Secretary in the last Government. After the War, when Nansen, as High Commissioner for Refugees to the League of Nations, was arranging for the establishment of Russian, Greek, and Armenian refugees, Mr. Noel Baker was associated with his work in the direction of bringing Greek exiles in Asia Minor back to Greece.

Directed by JOSEPH MUSCANT
From THE COMMODORE THEATRE, HAMMERSMITH

RECEPTION TEST

2.30 WORLD HISTORY
Mr. Norman H. Baynes, F.B.A.: "Empires, Movements, and Nations - Story VI, The Roman Empire and the Triumph of Christianity"

3.0 Interval

3.5 STORIES FOR YOUNGER PUPILS - II
Miss Rhoda Power: "Why the Hoopoe has a Crest" (Arabic)

3.20 Interval

3.25 FOR SECONDARY SCHOOLS
Mademoiselle Camille Viere: French Reading VI, Selections from "An Anthology of French Verse — From Villon to Verlaine" (This book, by Ritchie and Moore, is published by Dew, price 3s. 6d.)

From The Dorchester Hotel

BEETHOVEN'S PIANOFORTE SONATAS
Played by DOROTHY MOGGRIDGE
Sonata in C, Op. 53 (Waldstoin)
Allegro con brio; Introduzione, Adagio molto; Hondo, Allegretto moderato

Miss V. SACKVILLE-WEST

By Miss V. SACKVILLE-WEST

Mr. D. H. ROBERTSON (lecturer in Economics, Cambridge University) : ' The Jerkiness of Progress*

A Programme for St.
Andrew's Night
(FromEdiiiburrjli)

WEATHER FORECAST, SECOND
GENERAL NEWS BULLETIN

The Pro Arte String Quartet:
ALPHONSE ONNOU (Violin), LAURENT HALLEUX (Violin), GERMAIN PREVOST (Viola),
MARCEL MAAS (Violoncello)
BRUSSELS is very rightly proud of this fine team of artists, each a distinguished solo player and teacher of his instrument. For some years now the personnel has remained unchanged, and constant rehearsal and performance together have made them one of the world's quartets whoso complete sympathy of ideals and understanding of one another produces ensemble playing as nearly perfect as this generation has heard. They have long been welcome visitors to this country, and are almost as confidently at home in London as on the Continent: they have already broadcast on a good many occasions. Their repertoire includes practically all the host music which has ever been composed for the string quartet, though for some years they have devoted much of their time and gifts to the propagation of the newest music. In collaboration with Paul Collaer, they have given, year by year, regular series of concerts in which music of the most advanced schools of all countries has been presented with the advantages which such playing can give it.
BEETHOVEN
Quartet in B Flat, Op. 18, No.6
Allegro; Adagio appassionato; Scherzo; Allegro Grosse Fuge, tantot libre, tantôt recherche (Op. 133)
ORIGINALLY the last movement of the B Flat String Quartet, Op. 130, the Great
Fugue was afterwards published separately as Op. 133 for strings, with the title 'tantôt libre, tantôt recherche,' and as Op. 134, arranged by Beethoven himself for pianoforte (four hands).
The Quartet was first played by ochuppanzigh.
Linke, and other friends of the Master, and though two of the movements were encored, the fugue was damned by everyone - players and hearers alike. When Beethoven, on his death-bed, was told so by some tactful caller, he replied : It will please them one day.' It is even now not by any means universally known and understood. The easiest way to grasp its big design is to think of it as in six divisions, each of which is again divided, with one principal theme binding it together-the counter-subject of the first fugue, which becomes afterwards the subject of the second.
Quartet in F (Op. 135)
Allegretto; Vivace; Lento e tranquillo; Grave, Allegro
The last of Beethoven's quartets is more conventional in its design than its four predecessors, and the opening movement makes use of the classical sonata form without much in the way of modification. It is full of a gracious charm. The slow movement is always counted us one of the most precious gems in all the riches which Beethoven gave us: it is founded chiefly on a song phrase of simple but very eloquent beauty, peaceful and resigned in mood. The last movement has aroused endless discussion, and to this day no one quite understands what. Beethoven meant when he wrote at the head of it, 'Der schwergefasste Entschluss' (the resolve which could be grasped only with difficulty). There are two phrases which sound like question and answer, the first with the words: 'Must it be?' and the other answering very decidedly: 'It must be.'

Roy Fox and his BAND, from
MONSEIGNEUR