Mr. W. S. MORRISON , M.C., M.P.

By HERBERT DAWSON
Relayed from ST. MARGARET'S,
WESTMINSTER
German Programme
WILLIAM THOMAS BEST , who was bom in 1826 and lived to nearly the end of the century, was a very famous organist in his day, though he never he the cathedral appointment which is usually regarded as the crown of an organist s career. He was, however, a remarkable executant, and it is as a recitalist that his fame has come down to us. He did much to develop the use of the organ as a secular instrument, composing original pieces and arranging the music of other composers to that end.
SIGFRID KARG - ELERT, born in 1879, began his career as a pianist of exceptional brilliance, and continued it as a composer with ambitions. This was after he had mot Grieg. Ho started with a series of pieces for the Har monium , a very popular instrument in German homes, and toured the country giving recitals on that instrument. But his best work has been for the organ, for which he has already written some 200 pieces of real beauty and originality.

RECORDS
By CHRISTOPHER STONE

From The Dorchester Hotel

Tango de la Rosa

HAYDN PIANOFORTE Trios
Played by THE WEST REGIONAL TRIO
Trio No. 15, in A
Adagio; Vivace
Trio No. 1, in G
Andante ; Poco adagio ; Presto
(From West Regional)

Mr. C. H. MIDDLETON : ‘ April Vegetable Sowings'

Professor JAMES RITCHIE , D.Sc. (Professor of Natural History in the University of Aberdeen): ' Our Prehistoric Ancestors go a-hunting and what they see '
(From Aberdeen)
THIS is a particularly interesting series of Nature talks. Professor
James Ritchie will consider various aspects of the countryside, from the point of view of its constant changing — the disappearance of familiar features, animals and plants, and the reasons for this disappearance. The talks have been specially arranged in response to a request from country listeners, and they will be built on facts which are the common property of all who walk in the country or by the sea.

by EVELYN SCOTNEY (Soprano) and SOLOMON (Pianoforte)
DESPITE the name which Cesar Franck gave to this work, it is practically a pianoforte sonata with the customary three movements. It was written in pursuit of an experiment which he had already launched in a former work, ' Prelude, Choral and Fugue,' to make use of the greater freedom offered by the forms of Bach and his period. In other ways, too, Franck showed his desire to cleanse the repertory of pianoforte music from much that was tending to injure it. The insistence of Liszt and his disciples on the advancement of a complex and showy technique had left little room for the development of the aesthetic side of pianoforte playing, and Franck, acutely aware of the danger, endeavoured to redress the balance. It was after his sixtieth year that his best pianoforte music was composed, and his Variations Symphoniques in particular show how successful he was in his aim to display the pianoforte as a dominating part of a colour scheme, rather than as a self-centred bravura instrument.
FRANCO FACCIO, as a conductor of renown in Italy during the latter half of the nineteenth century, came into intimate contact with the great musical figures of that period. Boito was his friend, and collaborated with him in moro than one opera—the libretto of Amleto was adapted by Boito from Shakespeare; Verdi relied on him for the first European performance of Aida, and for tho production of Otello. He came to England in 1889 and conducted Otello at the Lyceum.
In the same year Puccini's forgotten opera, Edgar, had its first performance at the Scala, Milan, and was conducted by Faccio, to whom, the following morning, Puccini, in the rôle of a gratefully anxious young composer with his career ahead of him, wrote 'a few spontaneous words which come from the heart.'

WEATHER FORECAST, SECOND GENERAL
NEWS BULLETIN

A Musical Farce by 1 LANCE SIEVEKING

THE SAVOY HOTEL ORPHEANS, from THE
SAVOY HOTEL