Poulenc (pianoforte), Lamorlette
(oboe). Dherin (bassoon): Tno (Poulenc)
Charles Panzera (baritone): Soupir (Sigh), and Chanson triste (Song of Sadness (Duparc)
The Pro Arte Quartet: Interludium in modo antico (Interlude m the Old Style) (No. 3 of Five Novelettes), and Orientale (No. I ol Five Novelettes) (Glazunov)
Ninon Vallin (soprano): Clair de lune (Moonlight), and L'Automne (Autumn) (Faure)
Galimir String Quartet: Quartet
No. 7, in B flat (Milhaud)

by Irene Crowther
(Northern)

H. E. Norman , O.B.E.
The speaker is to picture the rush home at midday on a Saturday in all parts of the Empire. The week's work is over ; the family circle begins.
He will speak of the change which has taken place in the family during the last fifty years-girls and women, for instance, going out to work as well as men. He will discuss the parts which both the father and the mother of the family have to play ; the changed attitude of young people, and the need for better understanding. Change is in the order of things. But family life, Mr. Norman argues, is essential to the Empire. He is Secretary of the Clarke Hall
Fellowship for the development of juvenile courts and social work, and took part in the broadcast discussion on prisons last October.

The Norbert Wethmar Pianoforte
Quintet:
Norbert Wethmar (violin)
Nathan Comras (violin)
John Yewe Dyer (viola)
Walter Nunn (violoncello) Wilfrid Parry (pianoforte)
In the spring of 1918 Elgar went to live in a cottage at Fittleworth, Sussex, and his first creative impulse was to turn his attention for the first time to chamber music. The result was a sonata for violin and piano, a string quartet, and the piano quintet to be heard this afternoon.
The Quintet is undoubtedly the best of these three works. It is designed on a larger scale and contains some of Elgar's most thoughtful music.

Symphony Orchestra, conducted by Piero Coppola : Menuet antique (Ravel)
Symphony Orchestra, conducted by Pierre Monteux : Symphonie fantastique, Op. 14 (Episodes in an Artist's Life) (Berlioz)—Rêveries — Passions-Largo. Rêveries-Passions -Allegro. Un Bal (A Ball). Scenes aux champs (In the Fields). Marche au supplice (March to the Scaffold). Songe d'une nuit de Sabbat (Dream of a Witches' Sabbath)

by Kendall Taylor

Leader, Philip Whiteway
Conducted by Arnold Perry
The history of Borodin's Second Symphony is closely linked with that of his opera Prince Igor. The first ideas for the symphony occurred to him early in 1869, but in April of that year Stassov suggested the opera subject to him, and for a time he devoted all his energies to Igor. Then he decided (temporarily) that the subject was unsuitable. ' Don't worry about it ', he wrote to Stassov. 'The material won't be wasted. It will all go into my Second Symphony.'
Accordingly the first movement of the symphony was written in 1871. During the period 1874-76 he was working at both opera and symphony, and the last two movements of the symphony were based on themes originally intended for an epilogue to Igor.

Frank O'Connor