A Reading by Mr. V. C. CLINTON BADDELEY

Directed by Louis STEVENS From THE COMMODORE THEATRE, HAMMERSMITH

From The Dorchester Hotel

BEETHOVEN'S PIANOFORTE SONATAS
Played by DOROTHY MOGGRIDGE Sonata, No. 2, in A 1. Allegro vivace ; 2. Largo appassionato; 3. Scherzo ; 4. Rondo
ABOUT this time, I heard from some fellow-students that there was a composer recently come to the fore in Vienna who wrote the most curious stuff in the world-a baroque type of music, contrary to all rules, which no one could play and no one could understand; the composer's name was Beethoven. To satisfy my curiosity as to this eccentric genius, I betook myself to the lending library and procured a copy of Beethoven's Sonata Pathétique. I had not enough money to buyi the work, but I secretly copied it out. I found the novel style so attrnrtivo, and my admiration was so enthusiastic, that I so far forgot myself as to mention my new discovery to my teacher. He therefore reminded me of his precepts, and warned me not to play or study eccentric productions until my style was formed on more reliable examples. I disregarded this advice, and acquired Beethoven's works one by one as they appeared, finding in them such consolation and delight as no other composer was able to give me.'
(Ignaz Moscheles ).

Miss V. SACKVILLE-WEST

Dr. ADRIAN BOULT : The Promenade Concerts '

To the bewildered foreign observer the outstanding characteristic of English life often appears to be the pursuit of little balls by big men. Mr. Massingham, famous journalist and naturalist, who specializes in investigating the effect of social institutions on national character, and vice versa., gives a fascinating and unusual talk on the beginnings of this national disease.

Directed by HENRY HALL

WEATHER FORECAST, SECOND GENERAL News
BULLETIN

ANNE THURSFIELD (Mezzo-Soprano)
ROBERT MURCHIE (Flute)
FREDERICK THURSTON (Clarinet)
AUBREY BRAIN (Horn)
SIDONIE GOOSSENS (Harp)
THE INTERNATIONAL STRING QUARTET:
ANDRE MANGEOT (Violin); WALTER PRICE (Violin); Eric Bray (Viola); JACK SHINEBOURNE
(Violoncello) Donna lombarda; La prigioniera ; La pesca dell'anello ,
ANNE THURSFIELD is a singer almost by inheritance, and a musician, apart from her natural instincts, by the happiest of circumstances. Both her mother and grandmother were singers of distinction, and her own life has been passed in the company of musicians and the environment of music. She studied in Brussels, Lausanne, Berlin, and London, and to that she owes some part of her great linguistic gifts, for she can sing songs in any one of six languages. She was to have given her first recital in London, but the declaration of War in 1914 put an end to that, and for the next four years she devoted herself to relief work.
Anne Thursfield is a lieder-singer, and opera has had no place in her career. But in her own field of lieder, which is one of the most difficult of all in which to make a success, she is recognized in more than one European country as a singer of more than ordinary attainments.
LDEBRANDO PIZETTI is known in this country only by two or three instrumental sonatas and a few songs, but that is by no means tho measure of his worth. In Italy he is esteemed as perhaps the most significant composer of these days. His opera, Debora e Jaele, which has been performed in most European countries and in America, is not only a beautiful work, but it shows Pizetti to be a reformer and possibly a prophet with some remarkable ideas of what the future of opera maybe. Yet. in substituting a modern form of dramatic recitative for the former lyricism of Italian opera, he has, in the opinion of those who admire his work, happily succeeded in achieving merely another type of lyrical melodic beauty. Melody, it would fortunately appear, has more lives even than a cat.
VITTORIO RIETI, who is only twenty-four, is rapidly making a name for himself as one of the most promising of the younger Italian composers. His work is engaging and very modern, as, indeed, it need be, for, at a certain point in his career, Rieti destroyed all the work he had written up to then and began again with a clean sheet. (First Performance)

AMBROSE'S BLUE LYRES, from THE DORCHESTER HOTEL