Directed by JOSEPH MUSCANT
From THE COMMODORE THEATRE, HAMMERSMITH

Miss FLORENCE PETTY: 'Feeding a Family of Four on 12/- a week '
MISS FLORENCE PETTY has had thirty years of experience in teaching people how to cook. Before the war, she used to visit poor families in the St. Pancras district, not in the manner of the district visitor or Lady Bountiful, but simply as a friend, to tell housewives how they could best manage on their meagre incomes. She earned the nickname of ' The Pudding Lady ' from the children in the district. Then during the war she visited military camps and gave the canteen chefs a few tips, until they used to say that they wished their wives could have heard her. She is also a popular Women's Institute lecturer. This talk is especially for the unemployed, and will show how to make the best of a lean and scanty budget.

Reception Test

2.30 World History
Miss Rhoda Power: Empires, Movements and Nations: Interlude I: St.
Genevieve and the Huns

3.0 Interval

3.25 For Secondary Schools
Mademoiselle Camille Viere and Monsieur E.M. Stephan: French Dialogues: I: Dans une Librairie

Sonata in C Minor, Op. 32. .Saint-Saëns
Allegro; Andante tranquille; Allegro moderato

From The Dorchester Hotel

LISZT'S PIANOFORTE MUSIC
Played by MAURICE REEVE

Miss V. SACKVILLE-WEST.

Professor HENRY CLAY : Rationalization '
TNDUSTRY in most countries is the result
J- of a long process of growth, not of any systematic plan. Nowadays, however, tendencies in industrial reorganization have become the subject of conscious study ; a methodical analysis of facts and tendencies leads to a rational criticism of existing organizations. There is room, in the unwieldy bulk of most existing financial systems, for a continuous modification to keep pace and accord with changed technical and commercial conditions. We hear a great deal about rationalization of industry, and what it means is this effort to systematize the organization of industry and thus increase efficiency. Scientific management, a manifestation of this new constructive criticism of industry, is the subject of Professor Clay's talk next week.

by Lauri KENNEDY

A Short Concert of Burns' Songs
Introduced by CATHERINE CARSWELL , and interspersed with comments from Ayrshire and Galloway
(From Glasgow)

WEATHER FORECAST; SECOND GENERAL NEWS
BULLETIN

The Brosa String Quartet
(Brosa; Wise; Rubens; Mannucci)

Although Van Dieren is often spoken of as a Dutch musician, most of his ancestors were French, and for many years he has made his home in this country. His position in the world of music is a much more important one than could be guessed from the rare occasions on which his works are heard; there is a wide circle of earnest students who look to him as one of the most original spirits in the art of our time. And so he is. Turning from a scientific career to take up music in earnest only when he was about twenty, he quickly evolved an idiom of his own which owes but little to any earlier work. He finds his best means of expression in chamber music, and, like Schonberg, when he writes for orchestra, it is usually as though he were merely enlarging on chamber music forms. Such difficulty as his music presents, lies chiefly in the way in which the instruments are given simultaneous melodies of their own, which, on a first hearing, seem to have more independence than relation one to another. But, unlike some of the moderns, he tends more and more towards economy of means and simplicity of expression with each succeeding work. This string quartet is laid out for the conventional four instruments -two violins, a viola, and a 'cello-unlike one of his which substituted a double bass for the 'cello, and another which had only one violin. and double bass as well as 'cello. And in all its movements the attentive listener will discern a clear-cut logic, modelled on the old masters.

Summer Austin (Baritone) and Quartet
Songs by Peter Warlock

Less often played, as yet, in this country than it is abroad, Delius' second string quartet is not really difficult either to play or to enjoy. It differs from older music chiefly in this, that it flows unbrokenly, almost breathlessly, instead of falling into rounded periods and sentences. But the stream of melody is a captivatingly beautiful one, and the second movement especially has much in common with the charm of his picturesque orchestral music. There are four movements, concisely put together, purposeful in spite of their soaring fantasy. In the first, the principal theme seizes our interest at once, and, though it seems at times to take wing rather capriciously, it is set off by delicate passages of what a German writer has called 'not every-day loveliness.' Of great charm is the second movement, an Intermezzo in 'da capo' form. The principal theme is like the witty talk of friends who know each other well and there steals in so grateful a melody that it is suspected of being a concession to the hearer who likes 'good tunes.' 'Slowly and wistfully,' the third movement presents a soft picture of its subject, 'Late Swallows, 'and, like the second, it is rich in sonorous effect. In the 'very quick and vigorous' last movement, themes of dance-like character are cunningly used to make effects now robust and sturdy, now delicate.

AMBROSE'S BLUE LYRES, from THE DORCHESTER HOTEL