THE COMMODORE GRAND ORCHESTRA
Directed by JOSEPH MUSCANT
Relayed from THE COMMODORE THEATRE
GERALD ADAMS (Tenor)
At THE ORGAN of The REGAL, MARBLE ARCH
' THE SWORD OF SIGMUND'
The First of the Tales of the Nordic Sagas
Written as a Play for tho Microphone by L. DU GARDE PEACH
THIS is the first of some Sagas which Mr.
L. du Garde Peach is going to present as plays in the Children's Hour. In Iceland and Norway long ago, everybody-not only children -spent their evenings telling stories round the tire; some of these stories have been written down and kept; these are the Sagas. Many people say that the reason why they are so good is that there was once a lot of Irish settlers in Iceland and Norway ; the Irish, of course, have always been good story-tellers. Anyway, the best Sagas come from the places where there were most Irish people. ' The Sword of Sigmund ' is part of the legend of the Nibelung's Ring which Wagner used as a subject for his operas'
WEATHER FORECAST, FIRST GENERAL NEWS
BULLETIN ; London Stock Exchange Report, Bulletin for Farmers and Football Results
QUINTETS FOR STRINGS AND PIANOFORTE
Played by 'THE INTERNATIONAL STRING QUARTET:
ANDRÉ MANGEOT (Violin); WALTER PRICE (Violin), ERIC BRAY (Viola), JACK SHINEBOURNE
(Violoncello) and YVONNE ARNAUD
Sir LEONARD HILL, F.R.S., M.B.: 'The Tired Business Man'
THIS evening, Fatigue, the worst bugbear of the business man in this modern world of bustle, is to be discussed. If on a Saturday evening the listener is tired rather from his game of golf than from the worries of his office, this talk will not be the less valuable to him for that. Sir Leonard Hill is Professor of Physiology at the London Hospital, and believes strongly in the beneficial effects of sunlight and fresh air. How the deprivation of these essentials of health, from which the business man is bound to suffer, may be avoided, or its effects remedied, will be discussed. Sir Leonard Hill will be remembered for his series of talks on 'Modern Wonders of Science' in the spring of last year. He has published books on 'Sunshine and the Open Air,' 'Health and Environment,' 'Common Colds,' etc., and a report to the Medical Research Council on the Science of Ventilation and Open Air Treatment. He is well known as an amateur painter and writer of fairy stories.
THOSE who listen regularly to Mr. Stone's recitals may not be awaro that, as well as being London Editor of The Gramophone, ho is also a novelist and poet. Mr. Stone has one special quality for the post which he has gradually made his own : that of gramophone expert of the B.B.C. He must, in the course of his editorial duties, listen to more records than almost any man in England-more even than those young ladies in gramophone factories whose monotonous task it is to sit and listen to records being played through twenty times in succession to ensure that the recording is sound enough to stand the strain of frequent replaying. His acquaintance is not limited to British records ; he hears most American and Continental issues,, and so is enabled to give us from time to time, special evening recitals of ' 'hot' American tunes, Cuban dance music, African native songs, birds and beasts, and so on. Tonight's programme consists of dance music of all nations and ages.
Relayed from THE QUEEN'S HALL
(Sole Lessees, Messrs. Chappell and Co., Ltd.)
Last Concert of the Season
THE B.B.C. SYMPHONY ORCHESTRA
(Principal Violin, CHARLES WOODHOUSE)
Conducted by SIR HENRY WOOD
NOEL EADIE (Soprano)
HAROLD WILLIAMS (Baritone)
IRENE SCHARRER (Pianoforte)
WEATHER FORECAST, SECOND GENERAL News
THIS is one of the overtures which every series of Proms simply must include ; last year, too, it was played in the final concert of the season. Every note of it, from its sonorous opening on the 'cellos, through the storm and the happy notes of the shepherd's pipe to the stirring march at the end, is savoured time after time with a keen relish, which no repetition has any power to dull; if the audience were asked to choose its own programme for this last Saturday of the Proms, Rossini's Tell would certainly have a place in it. Produced in 1829, when Rossini, at the age of thirty-seven, was at the very height of his fame, the opera was meant to be the first of a series of five. He had a contract from the Government of France which pledged him to write an opera every two years, five in all. The next one was to have been Faust—one of the most interesting ' might-havebeens ' in the history of music. The Revolution of 1830, however, destroyed all these hopes, and, though Rossini returned to Paris, and went to law on his own behalf, winning his case after years of litigation at the very end of 1835, ho wrote no more operas for Paris or any other stage.
GOD SAVE THE KING
AMBROSE and his ORCHESTRA, from THE MAY