On page 78 of' When Two or Three '

Mrs. PEARL ADAM: That Extra
Money'

At The Organ of The Regal,
Kingston-on-Thames

Directed by Joseph Muscant
Relayed from
The Commodore Theatre,
Hammersmith

Directed by Frank Cantell
(From Birmingham)

RECEPTION TEST
2.5 (-2.25) Round the Countryside-2 Mr. Eric PARKER : Winter Sleepers '
2.30 (-3.30) Music
Sir WALFORD DAVIES
On three perfect leaps
2.30 Introductory Course
3.0 Advanced Course
3.33 Reading Test
3.35 (-4.0) Early Stages in French-2
Monsieur E. M. STEPHAN , assisted by Mademoiselle E. R. MONTEIL

THE BREARLEY STRING QUARTET :
Montague Brearley (violin) ; Joseph Shadwick (violin); Louis d'Oliviera (viola); Michael Collins (violoncello.)
DOROTHY HASTWELL (soprano)

Directed by HENRY HALL

Weather Forecast, First General News Bulletin, and Bulletin for Farmers

William Byrd 's
Psalmes, Sonets and Songs of Sadnes and Pietie (1588)
Sung by THE WIRELESS SINGERS
Conductor, LESLIE WOODGATE
Psalmes (cont.)
Lord, in Thy wrath (Ps. vi)
Even from the depth (Ps. cxxx)
Sonets and Pastorals
I joy not in no earthly bliss
Though Amaryllis dance in green Who likes to love
My mind to me a kingdom is Where fancy fond
0 you that hear this voice If women could be fair
Ambitious love

Herr MAX KROEMER

ARTHUR DE GREEF
(pianoforte)
THE B.B.C. ORCHESTRA
(Section E)
(Led by MARIE WILSON )
Conducted by STANTON JEFFERIES
ORCHESTRA
Norwegian Dances (Op. 35)
GRIEG included in his pianoforte works a number of arrangements of Norwegian Dances, and often used such dance tunes as the base of original compositions. Some of these were later scored for orchestra, and this suite of four dances is the most popular of them all.
ARTHUR DE GREEF AND ORCHESTRA
Concerto in A minor i. Allegro molto moderato ; 2. Adagio ; 3. Allegro moderato molto e marcato
GRIEG wrote his pianoforte concerto in the first year of his marriage, and it speaks eloquently of his happiness. He played the solo part himself on his first appearance in London in iS88 at a concert of the Royal Philharmonic Society.
ORCHESTRA
Suite, Sigurd Jorsalfar i. Vorspiel; 2. Intermezzo; 3. Huldigungsmarsch
THE DRAMA of the Norwegian poet Bjornson, Sigurd Jorsalfar (Sigurd the Crusader), is a tale of Norway in the time of the Crusades. Sigurd and his brother, Eystein, sons of the great Harald, are fierce rivals, each reigning over part of Norway. At the end of the play they become reconciled, and dedicate themselves jointly to the service of their country. Grieg wrote incidental music for the production of the play, afterwards recasting several of the movements in the form of a very effective suite, second in popularity only to the two suites from his music to Ibsen's Peer Gynt. The three movements of the suite, of which this is the third, have all the vividly picturesque manner of Grieg.
Though the sight now is not quite so familiar as it was not very long ago, there was a time when to see a piano in a music-loving home was to see at the same time a volume of Grieg's piano pieces lying upon it. The association was inevitable, for in the field of the short lyrical. tuneful and fairly easy pieces Grieg had then no rival. His engaging harmonic newness, his rhythmic folk music preferences, and his pleasing sentimentalities made a strong appeal to a public for whom deeper profundities would have involved deeper understanding.
But there is much more to Grieg than that. He was not alone a composer of charming little pianoforte pieces, nor of a number of strikingly individual and often very beautiful songs. He wrote a good deal of music on a much larger scale, and it is on his whole output that he must be judged. He is, for example, the most important composer in Norwegian history; he did more than anyone to develop a Norwegian national style, and his influence has been in certain directions profound. It is said that Delius was attracted to his music-was, indeed, influenced by it-and more than one living composer owes much to his study of Grieg's works.
Grieg was born in 1843. He came to
England and played at a Philharmonic Concert in 1888, and paid no other visits. He was a striking figure in a generation that adored the lyrical sentiments for which he stood, and if those sentiments are not so universally in vogue as they once were, few sane musicians can deny the beauty in which he clothed them, or wholly resist their permanent and unquestionable charm.

The Very Reverend
THE DEAN OF EXETER
IN THIS SERIES that is looking into the future, we have already had the views of a great imaginative writer, and those of a brilliant statesman, both of world-wide fame. Tonight we are to hear those of a distinguished theologian and philosopher.
The Very Rev. W. R. Matthews was
Dean of King's College, London, for fourteen years before he was appointed Dean of Exeter in 1932. His life up to then had been woven with King's. Educated there, he is a Fellow of the College, and a Member of the Senate of the University of London. He was lecturer in philosophy at King's College from 1908 to 1918, and is thcauthor of a number of standard works on philosophy and theology.

Weather Forecast, Second General News Bulletin

. (Today is the anniversary of Kingsley's death)

LEW STONE and his BAND
Relayed from The Cafe Anglais
(Shipping Forecast, on Daventry only, at 11.0)