Mrs. Ivo GEIKIE COBB : ' The Child of Victorian
Days '

Directed by HARRY FRYER
From THE SHEPHERD'S BUSH PAVILION

DAISY PEMBRIDGE (Violin)
ADELINA DE LARA (Pianoforte)

From WESTMINSTER ABBEY.

Directed by HENRY HALL

Directed by Guy DAINES
(From Edinburgh)

SCHUBERT'S MUSIC FOR VIOLIN AND PIANOFORTE
Played by AMINA LUCCHESI and MARGERY CUNNINGHAM Sonatina in G Minor, Op. 137, No. 3
1. Allegro ; 2. Andante ; 3. Menuetto, Trio ; 4. Allegro
Allegretto in E

General Notices connected with Government and other Public Services

presents
Troise and The Mandoliers with DON CARLOS (Vocalist) in Half-an-Hour of Tangos

(Leader, S. KNEALE KELLEY )
Conductor. LESLIE WOODUATE )
LILIAN KEYES (Soprano)
IN this programme are items which together illustrate in rough outline the changes which the London musical stage has experienced in the thirty odd years of this century. The Arcadians represents an era that is past. It was almost the last of the naive, dainty, unsophisticated musical comedies invented and stereotyped by George Edwardes in the eighteen-nineties of which The Geisha was perhaps the most typical. Then a ruthless invasion hy Viennese composers, followed by a still more devastating conquest by American jazz-kings, swept the pretty-pretty from the stage, and for years we settled down to a sequence of a new kind of three R's—Ruritania, Revue, and Racket—with occasional lapses into a sentimental relief of which The Rebel Maid and Lilac Time were typical examples. And now there are signs that we are turning on our tracks and completing the circle, or rather the ellipse, for we are going hack farther than seemed possible a few years ago. Tantivy Towers, delightful as it is, is not a new form nor even a personally remembered one. It is a type that dates from Halevy, and Offenbach, perhaps from Scribe and Auber, or even more remotely from Gay and Pepusch. Could any possible development be more promising?

WEATHER FORECAST, SECOND GENERAL NEWS
BULLETIN

by OLGA HALEY (Mezzo) and Mrs. KORMAN O'NEILL (Pianoforte)
CHOPIN did not furnish this Barcarolle with a a programme, but others have thought it seemed to call for one. This is the conception of Carl Tausig , Liszt's celebrated pupil: Two lovers in tho discreetly-curtained cab of a gondola are talking of their love. Their communion is expressed in the thirds and sixths of the melody, a figure representing the affinity of two inseparable souls that is maintained throughout. At ono point they embrace and kiss, or so Tausig surmises. He puts forward the modulation into C Sharp Minor as indisputable evidence of the fact. Otherwise, the piece is in the customary form of a barcarolle, with the rocking motive in the accompanying bass and the melody built upon it, which in this case in interpreted as a tender dialogue.
Another opinion is that of James Huneker , the American critic, who felt that this Barcarolle should seldom be played in public, and never to the public of a large hall. ' Something,' he says, ' of Chopin's delicate, tender warmth and spiritual voice is lost in larger space.' Mrs. O'Neill, who is about to play it, agrees that it is not a 'show piece,' but it is, in her opinion, the most beautiful romantic piece, with the possible exception of the F Minor Ballade, Chopin ever wrote.

Conducted by the Reverend,
W. H. ELLIOTT
Relayed from ST. MICHAEL'S,
CHESTER SQUARE
I

THE B.B.C. DANCE ORCHESTRA, directed by HENRY HALL