Miss A.S. Cooke (County Librarian for Kent): 'Some Old Favourites: Why do we enjoy them?'
Directed by JOSEPH MUSCANT
From THE COMMODORE THEATRE, HAMMERSMITH
RECEPTION TEST
2.30?3.0 World History
Mr. J. A. WHITE : ‘Empires, Movements, and Nations—III, France'
ELSIE OWEN (Violin)
KATHLEEN THOMSON (Pianoforte)
From The Dorchester Hotel
SCHUMANN QUARTETS
Played by THE KUTCHER STRING QUARTET
Op. 41, No. 1, in A Minor
Andanto espressivo, allegro ; Scherzo ; Presto
Miss V. SACKVILLE-WEST
Mr. VICTOR HELY-HUTCHINSON :
‘Key 3-Exploring a Key '
PREVIOUS talks in this series have explained clearly the nature of a musical key and how euch a key is formed and established. Mr. Hely-Hutchinson
. now discusses the possible limitations imposed upon musical expression by the use of only a single key. This raises the question of ' modulation,' or the alterations of the key in the course of the piece. These talks, which are given in simple language and assume no technical knowledge on the listener's part, aim at a quickening of his musical understanding.
by THE WISBECH MALE
CHOIR
A Play in One Act by Alicia Ramsey and Rudolph de Cordova
Adapted by Dulcima Glasby
Produced by Howard Rose
It is late in the day to say anything new about Dr. Abernethy, who bids fair to become as famous a character on the radio as he was in real life over a century ago. This renowned physician achieved a big reputation in Regency days, when all London flocked to his consulting-room. His popularity was due not only to his revolutionary methods in the diagnosis and treatment of the varied ills of his patients, but in no small degree to his 'startlingly blunt bedside manner.' He made his first bow to the microphone just about a year ago in this amusing piny. The many listeners who expressed their appreciation at that time will welcome this revival.
WEATHER FORECAST, SECOND GENERAL NEWS
BULLETIN
KATE WINTER (Soprano)
THE B.B.C. ORCHESTRA
(Section E)
(Led by F. WEIST HILL)
Conducted by PERCY PITT
THE number of young naval officers given to writing quartets while at sea cannot be large, but at least it inclndrs Rimsky-Korsakov and Albeit Roussel. Roussel served for about five years in the French Navy, and then, having collected enough encouragement to pursue his music studies seriously, he resigned his commission and entered the Schola Cantorum, Vincent d'ludy's famous music school. Later, lie became a professor at the Schola Cantorum and gave himself wholly to that and to composition. Ha has, however, composed comparatively little, ns appears to be the habit of modern musicians, who are able to spare so little time from their professorships for composition. But Roussel's compositions are distinguished, decoratively coloured, and most delicately finished. He has, for example, taken two years to write a symphony, three years to write an opera, and if a man's output is to be judged by his opus numbers, Roussel has averaged little more than one a year.
He is known to, England mainly by two orchestral works ?The Feast of the Spider, a ballet based on Henri Fabre 's fascinating life of that insect, and composed before the war, and For a Spring Festival, composed in 1920.
AMBROSE'S BLUE LYRES, from
THE DORCHESTER HOTEL
