Relayed from Westminster Abbey
THIS is the second of the series of talks en
' The Growing Generation,' which was begun by Mrs. G. M. Trevelyan with a talk on Play Centres' last week. Today Miss MacMillan will deal with another subject that has become important of late-the provision of Nursery Schools, where children under school age can be taken charge of, with great relief to their mothers and considerable advantage to themselves.
(Picture on page 329.)
THIS is another of the three monthly talks in which Professor Noel Baker is discussing the changes made in international affairs by modern developments in transport and communications, and by new international institutions such as the Hague Court and the League of Nations. Before becoming Professor of International Relations in the University of London, ho was a member of the British Delegation during the Peace Conference, and of the League of Nations Secretariat after the Peace.
By PATTMAN, from the Astoria Cinema
'Go to Bath!' A Pump Room Suite of Minuets and Gavottes, played by the Olof Sextet. Mr. Pickwick also goes to Bath-(from Pickwick Papers,' by Charles Dickens). ' Zoo Baths 'â€”Instruction by the Attendant-in-Chief, L. G. Mainland
BACH'S 'THE ART OF FUGUE'
Played by JAMES CHING
Fugues Eight and Nine, from ' The Art of Fugue' Fugue in D, from Book II of the ' 48 ' THE Eighth Fugue is a long, lively, running one, in three voices, in which this tune lirst appears:—
This is a new tune altogether, and it is worked np for a page or so. Then a second tune, soft, but rapidly moving and excited, sings along with it (in the Treble first). The excitement is worked up, and only then, after a climax, and a scurry in the bass, does the original tune appear on which the whole series of Fugues is founded. It comes quietly, but firmly (in the Alto, first). There are little gaps between its phrases : it has evidently caught something of the piece's excitement. With it are combined the other two leading themes, so that wo have a Fugue with three basic ideas.
In the Ninth Fugue (for four voices) a new theme, dashing up an octavo and careering down the scale, is first started, and when the voices have all tried it, we hear, on top of the harmony, the basic tune of the whole work, in very long notes (the first five of them taking a bar apiece). This Fugue has a fine air of invincible power about it.
Returning for a few moments to the ' 48 ,' we are to hear the Prelude and Fugue in D, No. 5 in Book II. The Prelude, in three voices, is in spirit and style a merry Gigue. In form, it is so advanced as almost to come within the scope of our modern Sonata movements, with its two tunes, their development and reception.
A spirit of good-humoured common sense, rather than ipoetry, distinguishes the tune of the . four-voice Fugue, and the treatment of it is just a piece of steady-going, logfenl argument—not . exciting, but Very satisfying.
TN this second talk Professor Cramp will describe the development of the dynamo from the time when Faraday published his researches in electro-magnetism in 1831, up to the state of advancement that it has reached at the present day.
THE BROSA STRING QUARTET: BROSA;
GREEN-BAUM RUBENS and Pini
MARK RAPHAEL (Baritone)
A MONO Schubert's greatest pleasures, at one period, was spending some months in summer at the Hungarian estate of his patrons and friends the Esterhazys.
This Quartet was probably written during, such a visit, in 1824. There are four Movements full of sunny melody. The Finale shows the influence of the folk-tunes that the Composer used to enjoy picking up from servants and peasants in the district. The theme of the Second (Slow) Movement will be familiar to many listeners, for Schubert used it also in his Incidental Music; for the play Rosamunde (written the winter before the visit mentioned above), and again in one of his Impromptus.
THE novelist of the Five Towns and of ' Riceyman Steps'—theauthor of works so dissimilar as ' Mr. Prohack ' and ' The Old Wives' Tale,' to say nothing of Milestones, London Life, and ' Things that have Interested Me '— has always had an irresistible appeal for the caricaturist and portraitist in words and in line. Tonight Mr. Gardiner will take his own turn to analyse the personality of one of the most enigmatic literary men of our time.
THE FOUR ADMIRALS
BILLY MAYERL (Syncopated Pianist)
NORMAN GRiFFEN (Comedian)
PAULA SINQUIVALLI and DAVID WILTON (Light Comedy Numbers)