From page 36 of ' When Two or Three '

Artur Schnabel (pianoforte) : Sonata in A flat, Op. no (Beethoven)—1. Moderato cantabile molto espressivo ; 2. Allegro molto ; 3. Adagio ma non troppo; 4. Fuga: Allegro ma non troppo
Lula Mysz-Gmeiner (contralto), with pianoforte accompaniment by Julius Dahlke : Death and the Maiden (Schubert); The Stars ; Up there on the Hill (Mahler); During the Ball (Tchaikovsky)
Yehudi Menuhin (violin), with pianoforte accompaniment by Hubert Giesen : La Folia (Corelli)

At the Organ of The Trocadero
Cinema, Elephant and Castle

Relayed from
The Granada, Walthamstow

by G. D. CUNNINGHAM
Relayed from
The Town Hall, Birmingham

Chorus and Orchestra of The Paris
Opera House ; M. Cambon (baritone); M. Dalerant (bass) ; conducted by M. Szyfer : Prologue and Coronation j Scene (Boris Godounov ) (Mussorgsky, j arr. Rimsky-Korsakov)
Nina Kochitz (soprano) with Orchestra : Berceuse (Sadko) (Rimsky-Korsakov)
N. S. Lukine (baritone) with Orchestra : Song of the Venetian Guest (Sadko) (Rimsky-Korsakov)
Nina Kochitz (soprano) with Orchestra : Yaroslavna's Aria (Act I, Prince Igor) (Borodin)
George Baklanoff (baritone) with the Berlin State Opera Orchestra, conducted by Dr. Weissmann : Prince Igor's Aria (Prince Igor) (Borodin)
Charles Kullman (tenor) with Orchestra : Vladimir's Aria (Prince Igor) (Borodin)
Leeds Festival Choir and the London
Philharmonic Orchestra, conducted by Sir Thomas Beecham , Bt. : Polovtsienne Dance No. 17 (Prince Igor) (Borodin)

by DOROTHEA ASPINALL
Dorothea Aspinall showed remarkable ability for the piano at an early age. Her father was a professional violinist and Assistant Music Master at Wellington College. At the age of twelve she won an Exhibition at Reading University, where she studied with Howard Jones for five years. Then she won an open scholarship at the Royal College of Music, where she eventually carried off the Wilson Scholarship, which enabled her to study with Irene Scharrer.
Bax's Second Piano Sonata, like his First, is modelled broadly on the lines of Liszt's great Sonata in B minor; that is to say, it consists of one big movement in so-called ' first movement form '. The gloomy opening, the fanfare-like principal theme, the lovely Celtic ' second subject and the beautiful close of the work are unforgettable.

Leader, BERTRAM Lewis
Conductor, RICHARD AUSTIN
Solo viola, LIONEL TERTIS
Relayed from
The Pavilion, Bournemouth
(Solo viola, LIONEL TERTIS)
Vaughan Williams 's Suite for viola and orchestra was specially composed for Lionel Tertis , to whom it is dedicated. It was first performed at a Courtauld-Sargent concert in the autumn of 1034. It consists of seven short pieces divided into three groups : Group I. Prelude, Carol, Christmas Dance ; Group II. Ballad, Moto Perpetuo ; Group III. Musette, Polka Melancholique, Galop. The Suite as a whole is full of the most captivating music, each piece being simple in construction, melodious, and delicately scored. It is one of Vaughan Williams's most charming works.
From Rimsky-Korsakov's own remarks made to his friends and from his memoirs, we know quite a lot about the pictorial details of 'Scheherazade'. The first movement was entitled ' The Sea and Sindbad's Ship!'. The piece as a whole is ' a seascape with white-crested waves ', while the smoothly-sailing ship is suggested by a beautifully tranquil little passage that recurs three times in the course of the movement.
The second movement is ' The Tale of the Kalandar Prince '. Answering fanfares are heard on the brass, and the composer told one of his friends that in the passage that follows ' one might see a fight'.
Rimsky-Korsakov was more reticent about the third movement, ' The Young Prince and the Young Princess ', though, of course, the beginning sketches the Prince and the middle the Princess '. And this middle part is intended to suggest a procession.
The last movement begins with a 'Festival in Baghdad' and passes imperceptibly and without a break into ' The Shipwreck on the Rock with the Bronze Warrior'.

Directed by JOHN MACARTHUR
(From Glasgow)

with LOLA GORDON

including Weather Forecast and Bulletin for Farmers

Pianoforte Music of the Viennese
Classic Period
Played by HELEN PERKIN
Programme arranged with the collaboration of Karl Geiringer of the Gesellschaft der Musikfreunde, Vienna

HELEN_SIMPSON

J. A. SCOTT WATSON (Professor of Rural Economy, University of Oxford)

Directed by HENRY HALL

A Play by Anton Tchekov
Translated from the Russian by CONSTANCE GARNETT
Music chosen, played, and sung by ALEXIS CHESS
The action takes place on the Professor's estate in Provincial Russia, at the end of the last century
Production by BARBARA BURNHAM
Loudly-expressed admiration of Tchekov has long been considered a hall-mark of highbrowism. Which is unfortunate. It is not Tchekov's fault but his misfortune that he has fallen so often into the hands of English intellectuals who have insisted on producing him in a way that astonishes his fellowcountrymen. For Tchekov was not only a humanist, but a humorist; as much a humorist as Dickens. From 1880, when he was twenty, to about 1885, he contributed prolifically to comic papers and, though he did not remain a professional humorist, he had a keener eye than almost any other Russian writer for the absurdities and futilities of everyday life (and of the dreamy, lackadaisical Russian character in particular).
Tchekov himself was not in the least like a typical Tchekov character. Far from being an indolent day-dreamer he was a hard-working medical practitioner, who remained in harness almost to the end of his life, and it is possible that Astrov, the doctor in Uncle Vanya, is to a certain extent a self-portrait.
Uncle Vanya ' will be repeated in the Regional programme tomorrow at 8.0

including Weather Forecast and Forecast for Shipping

Music by JACK STRACHEY
Sketches and Lyrics by Various Author;
JEAN SABLON
NORAH HOWARD
C. DENIER WARREN
HERMIONE GINGOLD
JACK CLEWES
THE RADIO THREE and NELSON KEYS
HARRY BIDGOOD and his
REVUE ORCHESTRA