Ruth Aranjo .. ^ .,„ ... ,..
RUTH ARANJO. ..} (TwoViolins)
EDWIN BENBOW (Pianoforte)
MARGARET FIELD-HYDE (Soprano)
Directed by JOSEPH MUSCANT
From THE COMMODORE THEATRE,
Miss Olive RINDER: Meals for a Hungry Man '
2.30 World History
Miss WINIFRED KNOX : ' Empires, Movements and Nations-Story II, Christian and Mohammedan Pioneers'
3.25 FOR SECONDARY SCHOOLS
Mademoiselle CAMILLE VIÈRE : French Readings
-II, Selections from La Fontaine's Fables '
Amina Lucchesi (Violin)
Margery Cunningham (Pianoforte)
From April, 1764, till July, 1765, Mozart, with his father and sister, was in London, astonishing the Court and the world of music by his amazing feats as composer, organist, and pianist. They lived in several lodgings during their stay, and paid a visit also to Tunbridge Wells: latterly, they were in Frith Street, Soho (it was called Thrift Street in those days), and were thus neighbours of John Christian Bach. The youngest of the great Bach's sons, he was music master to the Court, Handel's successor, and, throughout the Mozarts' visit, was as kind and helpful as only so genial a friend could be. His influence on the young Mozart's work is unmistakable, and Wolfgang, even at the tender age of eight, was no doubt well aware of it. A set of six sonatas for violin and harpsichord, of which this is the sixth, was among the music composed then; the elder Mozart had them printed at his own expense with a dedication to the Queen. She made the composer a present of fifty guineas in return for the compliment. In the dedication, Mozart is spoken of as eight years' old, but the date is within a few days of his ninth birthday: the sonatas are described as 'for the Clavecin, but may be played with accompaniment of violin or flute.' This one has only two movements, a majestic andante, and a gracious, tripping allegro.
3.45 A Transmission of Television by the Baird Process will take place during this programme (356.3 m. Sound; 261.3 m. Vision)
From The Dorchester Hotel
Various* Songs by FREDERICK GRISEWOOD
' Talbot Baines Read '—according to GEOFFREY
Pianoforte Solos played by CECIL Dixon
The Story of 'The Runaway Crown'
(Norman Hunter )
WEATHER FORECAST, FIRST GENERAL
News BULLETIN ; London Stock Exchange Report and Bulletin for Farmers
MODERN ORGAN Music .
Played by 0. H. PEASGOOD
Relayed from ST. MARGARET'S.
Mr. DESMOND MACCARTHY
Professor HENRY CLAY : Scientific
LAST week Professor Clay discussed rationalisation, and showed that in modern industry there is an increasing tendency towards a rational examination and criticism of existing industrial practice. Another manifestation of this spirit of criticism is scientific management. This term, so constantly heard nowadays, means an attempt to improve processes, systems of organization and internal relations, by applying to their study the methods of record, analysis, and measurement that the scientist uses in the study of his problems. How far are the problems which face the industrialist akin to the problems with which the scientist is concerned? In this connection Professor Clay expounds the actual and potential importance of the accounting profession. The sixth and last talk of this sub-series next week deals with the position of labour in the new organization of industry. On the Monday after, a symposium will begin on the question 'How has the State met the Change ? ' It will be conducted by Professor Clay and the two previous Monday speakers, Professor Plant and Mr. Dennis Robertson.
or ' WHERE MEN ARE MENTAL.'
A Crazy Entertainment
' The First Little Show,' New York, 1929 ' The Second Little Show,' New York, 1930 'The Third Little Show,' New York, 1931
THE REVUE CHORUS and the B.B.C. THEATRE
Conducted by LESLIE WOODGATE
Introduced by JOHN WATT
WEATHER FORECAST, SECOND GENERAL NEWS
Mr. S. P. B. Mais
Mr. S. P. B.
EMMY HEIM (Soprano)
THE ENGLISH ENSEMBLE :
MARJORIE HAYWARD ( Violin) ; REBECCA CLARKE (Viola); MAY MUKLE (Violoncello); KATHLEEN
THE first two of Brahms' three quartets for viol in, viola, violoncello and pianoforte, composed about 1860, when he was twenty-seven, were. except for the original form of the B Major Trio, the first chamber music he gave to the world. All his life he took a vast deal of trouble to make sure that anything like sketches which had gone to the making of his finished work, was destroyed; we know, too, that he suppressed quite a big proportion of his own finished work, sometimes even after others had approved of it. So that these first two quartets may be the successors of earlier ones which are lost to us, and which critics loss exacting than himself might have treasured. The world at large is certainly grateful for these, embodying, as they do, some of his most original and impressive conceptions. Both are big in every way, dramatic, tender, mystic and passionate by turns.
IN none of Bax's chamber music is so much dramatic force and power condensed as in this remarkable quartet, composed in 1922. It takes only eight minutes to play, and yet, within its terse compass, a depth of intense feeling is compressed which might easily have sufficed for a whole symphony. The opening is marked feroce, an instruction which Bax has used elsewhere, too, and it provides a good clue to the mood of the music here. The piece makes no concessions to lyrical charm and, indeed, never relaxes from the vigour with which it sets out. Nor does it allow for any weakness on the part of its performers : for each individually, and for all four as a team, it is very difficult.
AMBROSE'S BLUE LYRES, from The