Relayed from THE ROYAL ALBERT HALL
Speeches by The Chairman, The
Lady DENMANj C.B.E. , and Professor GILBERT MURRAY
THE big change which has come over village life in England since the War is due in no small measure to the success of the Women's Institute movement. There are now 4,863 of these institutes jn the villages of England and Wales, devoted to the social and educational welfare of country-dwelling women of all classes and types. The members—over 296,000, all told-meet at their own centres at least once a month for friendly intercourse, lectures on music and handicrafts, and an exchange of views on all topics of interest to women, from housing problems to raspberry jam. All this has led to a widening of horizons, a heightened sense of citizenship, and a new bond between the women of each village and ultimately -through this National Federation-between the women of the entire country.
At THE ORGAN of THE REGAL, KINGSTON-ON-
From THE PICCADILLY HOTEL
Mr. ERIC PARKER : Round the Countryside-
IV, Wild Bees '
Sir WALFORD DAVIES : ' Rhythms sung to two Chords' (2.30 Juniors; 3.0 Seniors)
Monsieur E. M. STÉPHAN and Mademoiselle COUSTENOBLE: 'Early Stages in French '―IV
4.5 'THE CLAIMS OF SCIENCE '-I
Mr. GERALD HEARD: 'Life,―IV, The
Vegetable Side of Life (Botany) '
Monsieur E. M.
Directed by JOSEPH MEEUS
From GROSVENOR House., PARK LANE
' The Wild Wood,' from ' The Wind in tho Willows ' (Kenneth Grahame ), arranged as a Dialogue Story, with Incidental Music played by ERNEST Lush
WEATHER FORECAST, FIRST GENERAL NEWS
BULLETIN; London Stock Exchange Report and Bulletin for Farmers
Played by MARJORIE HAYWARD (Violin) and O'CONNOR MORRIS (Pianoforte)
Sonata in A, No.2
Andante ; Allegro assai; Andante un poco; Presto
THE B.B.C. LIGHT
(Led by F. WEIST HILL)
Conducted by VICTOR HELY -
WEBER composed the Aufforderung zum Tanze for pianoforte solo in 1819, and, calling it a Rondo brillant, intended it for a virtuoso concert piece. It is that, of course, but it is also as fine an example of the true Viennese waltz as has ever been written and, reckoning only those that have come down to us, practically the earliest. Moreover, it has other qualities, and Berlioz who had a great admiration for Weber's music, was quick to realize them. It is, in its way, a tone poem, and lends itself to interpretation in a story. Consequently, Berlioz, who liked music to tell a story, scored it for orchestra almost as an act of homage and ensured for it a perpet ual youth. Later, Weingartner, also a master of orchestration, scored it again and doubled its popularity ; while in recent times the Russian Ballet have fitted to it an entrancing little terpsichorean romance, such as might have been in Weber's mind when he wrote the music, calling it The Spectre of the Rose.
' Portrait Painting '
A Dialogue between Mr. STANLEY CASSON and Mr. EDWARD HALLIDAY
THIS dialogue lives up very closely to the general title of the series, for on this occasion it takes the form of a conversation between an artist and his sitter. Throughout the discussion Mr. Halliday will be at work upon a portrait-drawing of Mr. Casson. This will afford him a unique opportunity of explaining his methods in detail, as well as his views on art in general. Mr. Halliday, who studied art at Liverpool, Paris, and the Royal College of Art, was the winner of the coveted Prix de Rome for Decorative Painting in 1925. Probably his best-known portrait is that of Lord Darling, which caught the approving eye of the critics at the Royal Academy of 1929. This work is on loan at present to the Leeds City Art Gallery, where it is being exhibited with particular reference to this talk.
WEATHER FORECAST, SECOND GENERAL NEWS
The BBC Orchestra (Section D)
The original overture to The Barber of Seville is said to have been lost. It has also been said that Rossini never wrote one. In any case, the overture always played in front of the opera is the one to be played tonight. It was first written for an opera called Aureiiano in Palmira, which was not successful. Rossini, either from indolence or because he disliked waste, then used the same overture for a much more successful opera, Elisabeth, Queen of England, the plot of which vaguely anticipated incidents in the as yet unwritten Kenilworth. And a year later, needing urgently an overture to replace one that had been lost, or that had never existed, he took from Queen Elisabeth what he had given her a year before, and presented it to Rosina with complete nonchalance. He evidently had no intention of composing a new overture where an old one would do, particularly as the music of the Aureliano overture fitted The Barber of Seville as though written for it, an argument, by the way, he had already used with the Queen Elisabeth opera. Rossini's genius served him well. By its aid, he was able to delight the public, hoodwink the critics, and save himself a lot of unnecessary work.
AMBROSE'S BLUE LYRES, from THE