GRETA DON (Mezzo-Soprano)
MACKENZIE LANG (Tenor)
DOROTHY HESSE (Pianoforte)
THE incursion of woman into the sphere of .sport has been nowhere more markedly successful than in golf. Miss Helme, who gives this talk, is a former International and Championship semi-finalist, and is now Golf Editor of Eve.
directed by SIDNEY FIRMAN
ADisarmament Conference is just about to open at Geneva, and Major Hills will give some indication of what results may be achieved. Besides being an ex-Financial Secretary to the Treasury, and the author of ' The Finance of Government,' he is a keen angler who has broadcast on fly-fishing, and written of the joys of A Summer on the Test.' '
MENDELSSOHN'SSONGS WITHOUT WORDS
Played by HAROLD RUTLAND
IF one had. to choose a period from the world's history in which one would like to have lived,
1 here is much to be said for tho' period when Rome ruled the Western world ; when the Mediterranean was the centre of a cosmopolitan civilization based on the rich culture of Rome.’ it is of this epoch, and its effects on the later history of Europe, that Mr. Norman'Baynes will talk.
MURIEL HERBERT (Soprano) ,
The Lake Isle of Innisfree
KEITH FALKNER (Baritone)
When Death to either shall come. Loveliest of Trees
The Green Leaves of May
FOR THE 'ORDINARY LISTENER' TONIGHT.
A chart prepared by Sir Walford Davies, to which he will refer during tonight's talk from London and Daventry on Music and the Ordinary Listener.'
AUSTINand ROYCE(Harmony and Whistling)
BOBBY SAUNDERS (in a Pot-pourri of Songs)
WILLGARDNER (Character Sketches)
MURRAY ASHFORD 'S CONCERT PARTY
8.0 8.30 (Daventry only) Dr. P. SARGANT
FLORENCE : ' Men and Machines : How we work and learn to work'
TIME and Motion
Study' is one of the most fascinating branches of that scientific investigation of the human factor in industry which Dr. Sargant Florence is describing in this series of talks. Time and effort can both be saved by study of the rhythm of jobs. the design of machines and the posture of the worker most calculated to produce efficiency whilst economizing strength and endurance. This evening Dr. Florence will describe these investigations and the consequences of applying their results to actual work.
THE LONDON STRING QUARTET: John Pennington (1st Violin); Thomas Petre (2nd Violin); H. Waldo Warner (Viola); C. Warwick Evans (Violoncello)
Robert Maitland (Baritone)
Beethoven's last Quartets, of which this one, represent the matured mind of the master at work upon problems of expression in which ho attained heights that no musician had before aspired to reach. We find him. in his search for a deeper, fuller exposition of his thoughts, sometimes adapting and moulding the old forms anew, and even breaking the moulds altogether and creating new ones to hold his ever- widening ideas.
In the C Sharp Minor Quartet (written in 1826 a few months before Beethoven's death), there are seven Movements, several of them containing quick changes of mood. All are to be played without a break.
The FIRST MOVEMENT (Slow and very expressive) is a Fugue. When this has been ex pounded in simple style, the tune on which it is based is given out by the First Violin twice as quickly as at first, and a little episode' is built up. Later, the tune is heard in the âCello, in notes twice as long as at first. Soon after, the Movement comes to a long-held note and a pause, and so begins tho
SECOND MOVEMENT (Very quick and lively).
This straightforward piece of energetic music is followed by the THIRD MOVEMENT (Moderately, fast); which is really only a few bars in declamatory style, bringing in the FOURTH MOVEMENT (Rather slow and in a singing style), a set of Variations on'a graceful, engaging theme.
FIFTH MOVEMENT (Very quick). The Scherzo, a ripe piece of jesting, full of quips and cranks, and of tremendous energy.
SIXTH MOVEMENT (Slow). Again a very short Movement, that says much in few notes, and goes deep.
In the SEVENTH MOVEMENT (Quick) we feel once more Beethoven's elemental power, and something' of the introspection' that grew upon him. This is big music in every sense, and perhaps in some ways music to which one needs to grow gradually if one is to get into really to grow gradually,if one is to get into really close touch with the tender, far-seeing and farther-hoping humanity of the spirit behind it.