From THE PICCADILLY HOTEL

. Directed by GUY DAINES

BACH'S FORTY-EIGHT PRELUDES and FUGUES, Book II
Played by VICTOR HELY-HUTCHINSON
Prelude and Fugue in D
Minor
Prelude and Fugue in E Flat
Prelude and Fugue in D Sharp Minor Prelude and Fugue in E
Prelude and Fugue in E Minor

MR. HONALD WATKINS' readings from
' 'Pride and Prejudice' have proved immensely popular, mainly because the wit, delicacy and flavour of the book have been admirably caught and conveyed by the reader. Readings continue today from the middle of Chapter XLVI (p. 237, Everyman Edition). We resume in the middle of the difficult subtle process by which Jane Austen shows Elizabeth's former aversion to Darcy melting through gratitude and esteem to affection. But other issues complicate her personal problems. The elopement of her younger sister Lydia with the double-faced Wickham throws the household into confusion. Elizabeth blames herself for the unlucky event, the amiable Jane will blame no one, and Mrs. Bennet blames ' everybody but the person to whose ill-judging indulgence the errors of her daughter must be principally owing.'

by VITYA VRONSKY

Relayed from The Queen's Hall, London
(Sole Lessees, Messrs. Chappell and Co., Ltd.)

Noel Eadie
Robert Easton
Isolde Menges
The B.B.C. Symphony Orchestra
(Principal First Violin, Charles Woodhouse)
Conducted by Sir Henry Wood

Orchestra
Overture, A Midsummer Night's Dream
This overture to Shakespeare's A Midsummer Night's Dream stands out as perhaps the most astonishingly mature work ever penned by a boy of seventeen. Both Mozart, and Schubert had, at that age, already written a great deal of remarkable music, but of neither can it be said, as it can of Mendelssohn, that he had then composed a masterpiece of such strength, maturity, and perfection. Considered from any angle, apart from the age of the boy who wrote it, the overture is a remarkable piece of work. It was, for example, composed more than a hundred years ago, but, it might well have been written yesterday; and were, we will suppose, a young English composer introducing such music for its first performance at the 'Proms' tonight, it is unassailably certain that it would be hailed as one of the freshest, most masterly, and most delightful of new works of a generation. Sir George Grove once said of it that it "brings the fairies into the orchestra, and fixes them there". As a prelude, almost as an epitome, of Shakespeare's play, nothing truer nor more handsome could have been said of Mendelssohn's masterpiece.

Robert Easton and Orchestra
Aria, I'm a Roamer (Son and Stranger)
Mendelssohn never wrote a fun-length opera, but he composed various pieces for the stage. This song comes from a one-act Singspiel, which is a form we know as ballad opera. The overture is often p)ayed, and this one song from it. The words are just patter, the singer apparently being an irresponsible fellow who dances his way through the world.

Orchestra
Scherzo (Octet in G Minor)
It has been said of this octet, one of the finest of Mendelssohn's chamber music pieces, that it is much more a symphony scored for a string orchestra than chamber music. Indeed, Mendelssohn appears to have anticipated this criticism, for he desired that the octet should be played in symphonic style. The Scherzo, the third movement in the octet ‚- €which, by the way, was written when Mendelssohn was only sixteen - €was re-scored for orchestra by the composer himself for a concert of the Royal Philharmonic Society in London, which he conducted in 1821). This graceful little movement is, according to the composer, an attempt at a description of the Walpurgis Night in Goethe's Faust.

Isolde Menges and Orchestra
Violin Concerto in E Minor
1. Allegro molto appassionato; 2. Andante; 3. Allegro motto vivace

Noel Eadie and Orchestra
On Wings of Song
Fairy Revel

Orchestra
Symphony No. 4 in A (Italian)
1. Allegro vivace; 2. Andante con moto; 3. Con moto moderate; 4. Saltarello: Presto

WEATHER FORECAST, SECOND GENERAL NEWS
BuLLETfN

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