Mrs. NORBERG : 'Sweden'

Directed by JOSEPH MUSCANT
From THE COMMODORE THEATRE,
HAMMERSMITH

From The Dorchester Hotel

Bach's English Suites
Played by Victor Hely-Hutchinson
Suite, No. 1, in A

No one knows why Bach called these six suites for Klavior, English; the similar set of six, which are called French, are modelled more or less on the form which French composers had already made popular, so that their name is easier to account for. Forkel, who wrote the first life of Bach, dealing chiefly with his organ and clavier music - he had very little chance of knowing anything of the big sacred works - suggests that the English Suites were composed for some Englishman of quality. No other authority thinks that at all likely, and the name may be taken rather as a tribute to the importance which this country could then claim in the world of music.
Bach found the Suite form ready to his hand - a series of movements in dance measures-and shaped it to his own uses, enriching it and widening its scope, as he did with every tradition he adopted. Keeping the different dance rhythms intact, ho invested each with a distinct character of its own, dignified, easy-going, stately, or light-hearted, and he added movements which are not in dance measure, like the prelude with which each of the English Suites begins. Simple and unassuming as they are, they do, nevertheless, reveal a splendid side of his kindly nature, standing worthily beside the great forty-eight as a treasured part of the literature of the pianoforte.

Miss V. SACKVELLE-WEST

Mr. D. H. ROBERTSON (Lecturer in Economics, Cambridge University): 'The Way Out'
THIS is the last week of the first half of all the 'Changing World' series. To-night Mr. Dennis Robertson , in his final talk, sums up the results of his six weeks' investigation of the causes of poverty and searches for a way out of the difficulty. The whole problem involves far-reaching and controversial questions of social policy. Can 'private enterprise ' solve the problem of adaptation to change ? Or does it call for more deliberate planning by national and super-national authorities ? How can unemployment be transmuted into leisure ? Ought we to try to control the vagaries of demand, if we cannot successfully respond to them ? Mr. Robertson poses these questions to himself, and tries to find an answer. The next sub-series in the Monday section will he conducted by Professor Henry Clay , beginning on January 4. who will answer the query: How has Private Enterprise adapted itself ?

ERNEST SHANNON and JANET JOYE
In Impressions
RONALD FRANKAU with his FRANKAU-
OPTIMISTS
ELSIE OTLEY
(Soprano)
LEONARD HENRY
Comedian
THE ORCHESTRA, under the direction of S. KNEALE
KELLEY, will play during the programme

WEATHER FORECAST, SECOND
GENERAL NEWS BULLETIN

Frederick Dawson (Pianoforte)
The Catterall String Quartet: Arthur Catterall (Violin); Laurance Turner (Violin); Bernard Shore (Viola); Lauri Kennedy (Violoncello)

Quartet, No.III, in E Flat Minor (Op. 30) Tchaikovsky
Andante sostenuto; Allegro moderato; Allegretto scherzando; Andante funebre; Allegro risoluto

Only one of Tchaikovsky's three string quartets, the first, is at all well known; its slow movement, especially, is familiar in many arrangements - derangements as musicians, call them sometimes. This third, composed four years later, in 1875, when he was thirty-five, is dedicated to the memory of his friend and colleague the violinist, Ferdinand Laub, a member of the Moscow String Quartet, which had given the first performances of the two earlier quartets. The work is largely elegiac in character, in a mood rather like the sincere melancholy of the sixth (Pathetique) Symphony and the Trio in memory of Nicolas Rubinstein.

Frederick Dawson, one of the most distinguished of British pianists, made a name for himself, as quite a small boy, by a feat which is almost, if not quite, unique; when he was only ten, he could play the whole of Bach's forty-eight preludes and fugues by heart. Sir Charles Halle, founder of the Halle concerts in Manchester, was glad to adopt such a brilliant lad as pupil, and Dawson can count Pachmann and Rubinstein, too, among his teachers. In one way he has been a regular missionary of music; after studying it with the composer himself, he played the Grieg concerto at a Philharmonic concert in London in 1897, and in the following year introduced both the Brahms concertos. And by way of balancing these introductions he played Sir Alexander MacKenzie's Scottish Concerto in Berlin. He is one of the comparatively few British artists to whom the rest of Europe pays tribute, and in Vienna and Berlin they know his name as well as we do in London.