From page 63 of ' When Two or Three'

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

' Music and Movement for Very Young Children'
ANN DRIVER

Directed by ALFRED VAN DAM
Relayed from The Troxy Cinema
Overture, Chal Romano (Gypsy Lad)
Ketelbey

Directed by HENRY HALL

Under the direction of JOHAN HOCK
Relayed from Queen's College, Birmingham
A Pianoforte Recital by EILEEN JOYCE
The E flat Rhapsody is the last solo pianoforte piece Brahms wrote. The magnificent energy and breadth of the march-like opening and the delightful airy grace of the m.ddle section nave made it a great favourite. Its variety of resource is stimulating, and the minor-key ending comes as a cunous and powerful stroke of exhilarating effect.

Leader, A. Rossi
Under the direction of EMILLO COLOMBO
Relayed from
The Hotel Metropole, London

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Special Notices connected with Government and other Public Services

Series 5
' Musical Art Forms as a Means of Expression'
Sir DONALD F. TOVEY , Mus.Doc.
(Reid Professor of Music in the University of Edinburgh)

C.H. Middleton
This evening Mr. C.H. Middleton is to bring to the microphone Mr. K. Hay, who is connected with a famous firm of seed growers and himself specialises in annuals. They will discuss some of the latest and most popular flowers that may be grown from seeds for summer display. Mr. R. Hay is the son of Mr. T. Hay, Superintendent of the Royal Parks, who discussed lawns with Mr. Middleton on February 1.

under the direction of EDWARD J. DENT
Harpsichord Music played by LUCILLE WALLACE
Minuets i and 2 in G major and minor Concerto in G
Chaconne in G

for a Gala night of Spanish Song and Dance with THE NEW ORQUESTA
HISPANICA introduced by THE MAlTRE D'H6TEL

A Historical Play specially written for the microphone by NORMAN EDWARDS
(author of ' Quarrel Island') ')
The series of famous trials has proved that historical episodes have no need of romance to help them to 'get over' -fact being the most moving drama of all. And the medium used in this play is a first cousin to that used in the trials.
There are necessarily more gaps to be filled in, but they have been filled by deduction rather than by imagination. What Mr. Norman Edwards has done is to take listeners behind the scenes of the French Revolution and set them a pretty problem. Was the poor little boy who died in the prison of the Temple the Dauphin-Louis XVII, titular King of France ? As in the case of the trials, it is for listeners to decide.
In six episodes the atmosphere of the Revolution, with all its plottings and counter-plottings, its contempt for human life and indifference to Buffering, is theirs to assimilate. Citizens Chaumette and Hebert planning a coup. Marie Antoinette , her husband executed, imprisoned in the Temple; her eight-year-old son, the Dauphin, taken away from her; the young ' King of France ' handed over to Simon the Cobbler to be suitably educated. Marie Antoinette executed. Her sixteen-year-old daughter, Marie Therese (Madame Royale) enclosed in the Temple with her aunt, Madame Elizabeth, but separated from her young brother. Hearing him cry, but it seems another voice. Is it he or another boy making ' noises like a little animal ' ?
Madame Elizabeth executed, Chaumette and Hebert executed, Robespierre himself executed. The boy dies. But was he the Dauphin ? Or was the Dauphin abducted from the prison to be used as a pawn in the game by men who never lived to use him ? And if so, who was the boy to be substituted ? And-man's humanity to man — who cared ?
Norman Edwards introduces 'The
Mystery of the Temple' in an article on page 7.
(This play was broadcast in the Regional programme last night)

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PHILIP THORNTON

Leader, PAUL BEARD
Conducted by FRANK BRIDGE
Beethoven's ' Coriolanus ' has not, as one would at first imagine, anything to do with Shakespeare's play. The author of the drama for which Beethoven wrote the overture was Heinrich Collin , a contemporary dramatist. It is a concert overture and may be considered a forerunner of the symphonic poem which was later to be developed by Liszt. Beethoven has drawn upon Plutarch's portrait of Coriolanus, and there was much in the character of this Roman to appeal to a man like Beethoven, whose forthright, independent, strong-willed nature was somewhat similar.
In the music Beethoven has aimed . at two things, to render musically the character of his hero, and to picture the incident of the famous meeting between Coriolanus, his mother, and his wife.
On hearing the first Cuckoo in Spring, one of the loveliest conceptions of Spring in music, and, at the same time, one of the most beautiful of Delius's shorter pieces, the other being Summer Aight on the River. It dates from 1912, and was first performed at a Philharmonic concert in January, 1914, under Mengelberg.
It is based upon two ihemes, in one of which the Cuckoo Call can be heard, while the other is taken from a Norwegian folk-song.

HARRY Roy AND HIS BAND
Relayed from The May Fair Hotel