Mr. RAYMOND'SWING : 'The United States of America '
KATE JOHNSTON (Soprano)
ALFRED CAVE (Violin)
JOHN GABALFA (Violoncello)
MYRTLE TYSSEN (Pianoforte)
. Relayed from
THE NATIONAL MUSEUM OF WALES
NATIONAL ORCHESTRA OF WALES
(Cerddorfa Genodlaethol Cymru)
(Loader, Louis LEVITUS)
Conducted by WARWICK BRAITHWAITE
Miss RHODA POWER : Empires, Movements and Nations-Interlude I, A Report to Pharaoh'
Mrs. WILLIAMS-ELLIS : 'Turkle'
Mademoiselle CAMILLE VIÈRE and Monsieur E. M. STÉPHAN: French Dialogue—I, 'Allons
Faire un Tour a la Foire '
AMINA LUCCHESI (Violin)
MARGERY CUNNINGHAM (Pianoforte)
MOSCHETTO and his ORCHESTRA
From THE MAY FAIR HOTEL
Pianoforte Solos by CECIL DIXON
' London " Potted," ' a now Series of Stories, written and told by WILL OWEN : No. 1—'The
Tower of London'
Various Songs sung by FREDERICK CHESTER The Story of ' The Pioneer Porcupine
(H. Mortimer Batten )
WEATHER FORECAST, FIRST GENERAL NEWS
BULLETIN ; London Stock Exchange Report and Bulletin for Farmers
QUINTETS FOR STRINGS AND PIANOFORTE
Played by THE INTERNATIONAL STRING QUARTET:
ANDRÉ MANGEOT (Violin), WALTER PRICE (Violin), ERIC BRAY (Viola), JACK SHINE-
BOURNE (Violoncello) and YVONNE ARNAUD
THIS great piece of chamber music is always regarded :as the highest point
Brahms reached in the first period of his mature .genius. It was originally composed as a piece for strings, a string quartet with an extra violoncello, like the great Quintet by Schubert; but after it had been thoroughly tested out in that form by Joachim and his colleagues, they explained to Brahms that no five string players could hope to achieve the huge effects which the music clearly demanded.
The first movement, big and dignified, is deeply tragic in its mood; the slow movement, also solemn, is a very broad, song-like piece with two main themes in the usual form of 1, 2, 1. The third, a Scherzo, is like Beethoven's big movements in that form, without much thought of the jest which the name originally meant. The Finale begins with a mysterious introduction, and goes on as a full-sized movement with the usual two main themes, but without a real development.
Mr. DESMOND MACCARTHY
Professor ARNOLD PLANT, (Sir Ernest Cassell Professor of Commerce, London School of Economics): ' The Family Income '
PROFESSOR ARNOLD PLANT is no theorist, for he has been a business administrator. He was, until last year, Professor of Commerce at Cape Town University. His knowledge of Africa enabled him to give an interesting talk last winter, in the ' Dark Continent' series, on ' The Settler Looks at Africa.' Hois giving the first six talks in this section of the ' Changing World' symposium; the next six, under the contrasting title of ' Why Does Poverty Continue ? ' will be given by Mr. Denis Robertson. This evening, Professor Plant will talk about the family income, why and how it has increased in most cases and not in others, and about the sources of wealth in general.
Relayed from The QUEEN'S HALL
(Sole Lessees, Messrs. Chappell and Co., Ltd.)
THE B.B.C. SYMPHONY ORCHESTRA
(Principal Violin, CHARLES WOODHOUSE)
Conducted by SIR HENRY WOOD
ODA SLOBODSKAYA (Soprano)
WALTER WIDDOP (Tenor)
WITH the exception of the Tannhäuser piece, all tonight's programme belongs to the maturest period of Wagner's creative life. That period is covered by the composition of the four operas of The Nibelung's Ring. He was forty when, having already written the words of the whole of 'The Ring,' he began the music. He ploughed through the composition of The Rhinegold and The Valkyrie, but halfway through Siegfried he became thoroughly disheartened; appalled at the difficulties that he knew would have to be encountered before the gigantic work could be produced or even considered for production, he stopped work on ' The Ring' altogether. For twelve years he did not add a note to the score, when, suddenly taking up Siegfried at the point where he had dropped it, he continued as if nothing had happened in the meantime, and finished that opera and the final one. The Dusk of the Gods, without further interruption. It is said to be practically impossible to detect any point in the score which indicates a break of such length of time. and nobody knows for certain even where it occurs.
In the meantime, that is while Siegfried was in cold storage, Wagner composed those two imperishable masterpieces, Tristan and Isolda and The Mastersingers. If that misused word entr'acte can be in any sense applied to music written between the first half of Siegfried and the last half, this must be the longest and most wonderful entr'acte ever written.
Introduction, Act III (Tannhauser) (Original Version)
WALTER WIDDOP and Orchestra
Prize Song (The Mastersingers)
Prelude, Act III, Tristan and Isolde
(Cor Anglais Solo, TERENCE MACDONAGH )
ODA SLOBODSKAYA, WALTER WIDDOP and Orchestra
Act I, Scene 3, The Valkyrie
Sieglinde, ODA SLOBODSKAYA Siegmund, WALTER WIDDOP
ODA SLOBODSKAYA and Orchestra
Closing Scene (The Dusk of the Gods)
Ride of the Valkyries (The Valkyrie)
WEATHER FORECAST, SECOND GENERAL
Mr. H. G. WELLS
Mr. H. G.
MAURICE WINNICK and his BAND, from
THE PICCADILLY HOTEL