Directed by JOSEPH MUSCANT
From THE COMMODORE THEATRE, HAMMERSMITH
Mrs. K. BOWKER : ' Economies from Canada '
TODAY the spring session of ' morning ' talks
-which was introduced last Friday--opens with the ftr.st in the series on cooking. Please note. by the way, that these talks, like the Thursday ones, are now to be given at
1.45 p.m., which is thought to be a more convenient hour. This talk is the first of a series given by experienced cooks on the methods they use.
of Educational Associations
Presidential Address by Sir WILLIAM ROTHENSTEIN , A.R.C.A.
Relayed from UNIVERSITY COLLEGE
From The Dorchester Hotel
Bach's 48 Preludes and Fugues
Book I
Played by JAMES CHING
Mr. DESMOND MACCARTHY
Professor Henry Clay: 'What is Private Enterprise?'
In his last talk three weeks ago, Mr. D.H. Robertson asked some pertinent and searching questions in connection with solving the problem of poverty and its persistence. The first of these was concerned with private enterprise in industry, and in these next six talks in the Monday series Professor Clay will explain what private enterprise has done to adapt itself to changed conditions. In this evening's talk he considers the character and scope of private enterprise, whether it is being changed by the expansion of the scale on which industry is conducted, by the growth of great combinations, and by the spread of joint stock companies. Professor Henry Clay, who was for eight years a lecturer for Workers' Educational Tutorial Classes under Leeds, London and Oxford Universities, was attached at the end of the War to the Ministry of Labour; he was then successively a Fellow of New College, Oxford, and Professor of Political Economy and of Social Economics at Manchester University. He is the author of several important books on Economics.
' Cupid—Plus Two'
A Musical Golfing Interlude
Book by CHARLES HAYES
Lyrics by ALEC MCGILL and CHARLES HAYES
Music by GEORGE BARKER
The Cast includes :
Other Caddies, Old Members, etc., etc.
JEAN MELVILLE and GEORGE BARKER
At two Pianos
GEORGES SEVERSKY
The Singing Pilot
At the Piano, V. LOUNITZ Guitar accompaniment by AL SHAW
BOBBIE COMBER
Comedian
ANNE DE NYS and RICHARD ADDINSELL
At two Pianos
WEATHER FORECAST, SECOND
GENERAL NEWS BULLETIN
SOPHIE Wyss (Soprano)
THE MICHAEL DORÉ Trio:
MICHAEL DORÉ (Violin), MAURICE ZIMBLER
(Violoncello), JACK BEAVER (Pianoforte)
RAVEL'S chamber music is much easier to understand, even on a first hearing, than most of the work of the moderns. Although what he has to say is all new, the language he uses is to all intents and purposes the straightforward idiom with which the older masters have made us familiar. This trio is the most important of his chamber music ; reminding us here and there of the string quartet, it is a bigger work. The first of its four movements flows throughout on broadly melodious lines; the chief part of the second hurries along at breakneck speed, but in the middle section there is a splendid melody. The third movement sticks pretty closely to the traditional form of the passacaglia, a movement built up, like a ehaconne, on a ground bass-a short and simple theme. Ravel makes a very effective and dignified movement of it here, reminding us of his descent from the Romantic composers, though with something of sternness in his make-up. The last movement is brilliant and vivacious with a hint of the poetic imagery of The Fairy
Garden in the Mother Goose Suite. But the whole work is on a more virile plane than that light-hearted suite; it is one of Ravel's loftiest conceptions. The attentive listener will note that the themes of all four movements are akin one to another, though in the last the melodic line is turned upside-down.
AMBROSE'S BLUE LYRES, from THE DORCHESTER
HOTEL
