From page 60 of ' When Two or Three'
Isolde Menges (violin) : Hungarian
Dance No. 7, in A (Brahms); Hindu Song (Sadko) (Rimsky-Korsakov)
Karl Heinrich Diener von Schonberg
(pianoforte) : Caprice in G minor, Op. 116, No. 3 (Brahms) ; Caprice in E (Paganini, arr. Schumann)
Isolde Menges : Hejre Kati, Czardas
(Hubay) ; Spanish Dance, No. 2 (Granados, arr. Kreisler)
Solomon (pianoforte): Aubordd'une source (By the Spring); Study in F minor (Liszt)
German Reading-
' Morgen '
OTTO G. LEWALD , D.Jur.
From
The Concert Hall, Broadcasting House by C. H. TREVOR
A Programme of French Organ
Music
The Practice and Science of Gardening-4
'The Soil and Water'
B. A. KEEN , D.Sc., F.R.S.
2.25 Interlude
2.30 Music, Course I
Junior Concert Lesson 2
(a) English Folk-songs
(b) Percussion
ERNEST READ
Edwin Fischer (pianoforte) : Suite in D minor (Handel)—Prelude, Air and Variations, Presto
Elisabeth Schumann (soprano) :
Mit einem gemalten Bande (With a Coloured Ribbon), Op. 83, No. 2 (Beethoven) ; Wonne der Wehmut (The Bliss of Melancholy), Op. 83, No. 1 (Beethoven)
YehuJi and Hephzihah Menuhin
(violin and pianoforte) : Sonata No. 42, in A (K. 526) (Mozart)-r. Allegro molto ; 2. Andante ; 3. Presto
Margot Berger
Conductor, H. ROULSTON
RAYMOND GREEN
(entertainer at the pianoforte)
(From Birmingham)
with DIANA CLARE
including Weather Forecast and Bulletin for Farmers
Max Reger (1873-1916)
Organ Music
Played by C. H. TREVOR
Fantasia in C minor, Op. 29
Prelude and Fugue in E, Op. 56, No. I
' Max Reger 's counterpoint', says Edwin Evans , ' was judged to be somewhat free in his day, but in principle he was a conservative, and his whole nature would have shuddered at the contrapuntal aspect of present-day " nco-classicism ". One might, however, be justified in saying of him that, like Bach himself, he faced two ways. Bach summed up the polyphonic past and laid the foundations of modern music. Reger looked back across the whole Romantic movement to Bach as the source of musical wisdom, and forward to a contrapuntal renascence. In this he was in his day an exception.
A special article by Edwin Evans on Max Reger 's Organ Music is on page 13.
A. B. CAMPBELL
A. B. Campbell came to the microphone last August to grip listeners with a dramatic first-hand account of the last voyage of H.M.S. Otranto. During the war he served in the R.N.R., and is now on the retired list. He is noted for his conversation.
ALISTAIR COOKE
'Players for the Play'
E. MARTIN BROWNE
The brilliant cast of the latest musical-comedy success would probably cause a sensation if they were engaged to take part in a Tchekov play-and a most unfortunate sensation it would be, too. The Tchekovian actor likewise would cut a sorry figure in a Jack Buchanan or Leslie Henson role. Extreme contrasts, of course ! But this evening E. Martin Browne will discuss the many factors that should influence the choice of a play for production.
Questions such as the size of the stage, verse or prose, costume or modern dress ; whether players should project or submerge their personalities in the parts they play-all these problems are also to be debated by Martin Browne , and two or three other experts whom he will bring to the microphone.
A Pastoral Episode
Founded upon Bunyan's
' Pilgrim's Progress'
By R. VAUGHAN WILLIAMS
Distant Voices from the Celestial City
THE B B C MIDLAND ORCHESTRA
Leader, Alfred Cave
Conducted by H. FOSTER CLARK
Scene : The Delectable Mountains within sight of the Celestial City.
Towards Sunset
Contrasting Composers
2-SIDNEY JONES and COLE PORTER
Cast
BETTY BOLTON
GARDA HALL
REGINALD PURDELL
JANET LIND
C. DENIER WARREN
ROBERT GEDDES
THE THREE GINX
THE B B C VARIETY ORCHESTRA and CHORUS
Conducted by STANFORD ROBINSON
At the pianos, HARRY S. PEPPER and DORIS ARNOLD
Compere, JOHN WATT
' Songs from the Shows' will be repeated in the Regional programme tomorrow night at 9.0
including Weather Forecast and Forecast for Shipping
TATIANA MAKUSHINA (soprano)
THE LONDON STRING TRIO :
Jean Pougnet (violin) ; William Primrose (viola) ; Anthony Pini
(violoncello)
Mozart put the finishing touches to this Divertimento ' of six pieces ' on September 27, 1788, about six weeks after the completion of the ' Jupiter ' Symphony. (In fact, it was his first large-scale work after the Symphony.) ' Each movement of this Trio is planned on broad lines ', says Jahn, ' and worked out with the greatest love and care, so that the Trio-unquestionably one of Mozart's most admirable works-is a true " cabinet-piece " of chamber music. It is impossible to imagine anything more charming than the trio of the second minuet' (i.e. the middle part of the fifth movement).
