' You and your Tenant,' by A LAWYER
CLEARLY and simply this anonymous lawyer explains the legal relationship of landlord and tenant, this week particularly from the landlord's point of view. Letting, forms of tenancy and lease, assignment, attornment and estoppel will be made as clear as day. Ignorance of the law is no excuse for breaking it, and these talks make even ignorance more difficult excuse.
Directed by Guy DAINES
Folk Songs of THE MEDITERRANEAN PEOPLES
Illustrated by Gramophone Records, collected by PHILIPPE MAIRET
Mr. A. N. RAWES : 'Better Berries next Year'
Mr. ERNEST NEWMAN
IF ‘Berlioz was the greatest musical journalist who ever as Ernest Newman has himself very definitely declared, wo must be content with asking ourselves whether Mr. Newman is not the greatest musical journalist since Berlioz, particularly as tho two, in their writings, have something in common. Both are confessed journalists, both have shown thomselves masters of their craft, and both have honoured journalism by writing literature. Both have written with a trenchant wit, and finally both are courageous, mordant, and implacable. It is for these reasons that every thinking musician in the country turns weekly to the Sunday Times ‘ to see what Newman has got to say about it.' Ernest Newman began his career as critic on the Manchester Ouardian , then migrated to the Birmingham Daily Post, and finally came to London, first on the Observer and then on the Sunday Times. His criticisms on these papers have always been brilliant and valuable, but of still more worth are his more permanent writings, his studies of Wagner; Elgar, Strauss, and Hugo Wolf , the first and last having the authority of classics. Indeed, what ho docs not know dr has not said on the subject of Wagner is not worth knowing or saying. Ho has even gone so far as to translate into English the texts of the whole of The Ring and Parsifal.
And, to cap and explain his writings, ho has explained himself ; ' A Musical Critic's Holiday,' as a study in tho principles of criticism, is itself a bait for further criticism. Therein lies its object and its true value.
Relayed from THE QUEEN'S HALL, LONDON
(Sole Lessees, Messrs. Chappell and Co., Ltd.)
Beethoven
RIA GINSTER
MYRA HESS
THE, B.B.C. SYMPHONY ORCHESTRA
(Principal First Violin, CHARLES
WOODHOUSE)
Conducted by Sir HENRY WOOD
Symphony No. I in C
1. Adagio molto—Allegro con brio ; 2. Andante cantabile con moto; 3. Minuet and Trio ; 4. Finale : Adagio-Allegro molto e vivace
».
RIA GINSTER and OrchestraJoyful and mournful Egmont
The drums loud are beating
MYRA Hess and Orchestra
Concerto No. 4 in G
1. Allegro modorato ; 2. Andante con moto ; 3. Rondo : Vivace
ORCHESTRA
Symphony No. 8 in F
1. Allegro vivace o con brio; 2. Allegretto scherzando; 3. Tempo di Minuetto ; 4. Finale: Allegretto vivaco
BEETHOVEN himself spoke of this work as the 'Little Symphony in F,' and as one of winch he was particularly fond, perhaps for the reason that it is in spirit the brightest of the whole nine. Tchaikovsky once wrote an analysis of this symphony from which we quote: ' It is the last bright smile, the last response, given by the poet of human sorrow and hopeless despair to the voice of gladness. In the Ninth Symphony Beethoven concludes his colossal work by a Hymn to Joy, which represents the eternal and universal chorus of humanity, united in brotherly love and chanting in one voice an ecstatic dithyrambus to Nature and the Creator. But such joy is not of this earth. It is something ideal and unrealisable; we hear the despairing cry of a great genius who, having irrevocably lost faith in happiness, escapes for a time into the world of unrealizable hopes; into the realm of broken-winged ideals. The Eighth Symphony, on the contrary, is filled with a spirit of serene content and unrestrained joy. It depicts the gentle, earthly delights of humanity before the soul is distracted by evil, doubt, and despair.'
WEATHER FORECAST, SECOND NEWS BULLETIN
