'THIS is the second of the two talks in her series which Mrs. Crofts is devoting to law and marriage. This morning she will discuss the question of the unsuccessful marriage and the view adopted towards it by the legal mind and legal experience.
Phaon. ' Und ala do
(Lines 204-256) Vater ...
Jüngling wurde schauen '
ACT II. Scene 3.
Melitta: ' Es geht nicht
Zu eueh ! '
ACT II. Scene 4.
Melitta: ' So ging alles
(Lines 647-666) und ihre ward
ACT III. Scene 2.
Sappho: 'Der Bogen
(Lines 927-976) klang....
Melitta ! '
ACT IV. Scene 1.
Sappho : ' Bin ich denn
(Lines 1190-1219) noch ...
Undank ! '
ACT V. Scene 6.
Sappho : 'Erhabne,
(Lines 1982-2028) heilgo ...
Nehmt mieh auf '
' Morris Dance ' (HerbertFryer) and several other
Piano Solos played by CECIL DIXON
' Caravan Joe '-not a Gnome Story (
Mabel Marlowe )
' Songs of the Sea' sung by REX PALMER
Other Countries' Stories—J, France : ' The Pope's Mule ' (Alphonse Dawlet ), translated by C. E. Hodges
THIS afternoon's instalment of the ' Day's
Work' series gets far away from the jobs that most of us know; from the factories and docks of England to the deserts between Cairo and Baghdad. The journey that Mrs. Lytton Holt will describe is an interesting example of modern developments in transport, for her grand-parents made it on horseback, her parents by carriage, and her husband and herself by motor in 1923, while she has now taken her children by air over the Jordan Kills from Gaza to Baghdad in five and a quarter hours.
STRING TRIOS BY BEETHOVEN
Played by KENNETH SKEAPING (Violin)
BERNARD SHORE (Viola)
EDWARD J. ROBINSON (Violoncello)
Op. 9, No. 1, First and Second Movements
BEETHOVEN composed four Trios for Strings, all early works, but all delightiul and affording in every case abundant evidence of the rare promise which he displayed from the first in the domain of chamber music. Of these early Trios it has been said, indeed, that they showed the youthful Beethoven beginning where the mature Mozart had left off, and actually rivalling in this particular field the achievements of the older master from the first.
The Trio in G (Op. 9, No. 1) haa always been the most popular of the set of three to which it belongs, though the one in C minor (No. 3) is even finer in some respects. It opens with a slow introduction (Adagio) leading to a lively first movement based on two main themes.
Of these the 6rst, of considerable length, ia very vigorous and animated, with quick runs and energetic arpeggio figures as its leading features. The second, not less attractive, but of a quieter character, is presented in the form of staccato chords, played very softly at first.
In happy contrast to the animation of the opening Allegro is the tranquillity of the slow movement (Adagio) based on a long, flowing theme of a beautifully expressive character.
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