Professor S. J. COWELL :' Eating by Habit'
Professor S. J.
Admiral of the Fleet Earl JeUicoe , G.C.B.,
President of the Empire Day Movement introduced by Mr. J. C. STOBART
Mr. J. C.
At THE ORGAN of THE REGAL, KINGSTON-
From THE PICCADILLY HOTEL
Mr. Eric PARKER: 'Round the Countryside-V, Thunder and Lightning' - I
Sir WALFORD DAVIES: 'New Ways of Balancing'
(2.30 Juniors; 3.0 Seniors)
Monsieur E. M. STÃPHAN: 'Early Stages in French' - V
Monsieur E. M.
Mr. GERALD HEARD: 'Life--V, The lowest Unit of Life (Bacteriology) '
Directed by JOSEPH MEEUS
From GROSVENOR HOUSE, PARK LANE
' Mr. Toad,' from ' The Wind in the 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
MOZART'S PIANOFORTE VARIATIONS
Played by MAURICE COLE
Ten Variations on the Air, Unser Dummer Pobel meint (from Gluck's Opera, The
Pilgrims of Mecca)
Six Variations on Paisiello's Air, Salve tu, Domino (from the Opera, I Filosofi immaginari)
Monsieur E. M. STÉPHAN
Monsieur E. M.
(Led by MARIE WILSON )
Conductor, ADRIAN BOULT
The story of this ballet, dealing with Spanish gipsy life, is founded on a folk-tale, the gruesome subject of which is that the ghost of a dead lover appears whenever a new lover seeks to take his place. The scenario was written by the well-known dramatist Martinez Sierra, who prepared also that of Falla's other ballet, The Three-Cornered Hat. The music of El Amor Brujo was composed in 1915, and. the part of Candelas, the heroine, has always been one of the favourite roles of the celebrated dancer, 'La Argentina.'
The suite follows the stage version almost exactly, and consists of a number of dances, each of which is a musical expression of an attempt to lay the ghost of the dead lover. The Introduction rings up the curtain on a gipsy cave at Granada, the scene of the ballet, and leads directly to The Dance of Terror.
In No. 3, The, Magic Circle, Candelas is hoping to defeat the ghost by drawing a magic circle on the ground and uttering incantations over a witches' cauldron. The Ballad of the Fisherman, which follows, appears only in the concert version.
In The Fire Dance the now distracted Candelas attempts to drive the ghost away by means of an ancient ritual. At the end of it the desperate dancer is heard stamping out the rhythm with her feet, and finally, realising she has failed, she falls senseless to the ground.
In No. 5, Pantomime, it is Laura, Candelas' friend, who makes a new attempt to appease the furious ghost, and in No. 6 she endeavours to complete her apparent conquest. Her song, tinged with irony, is heard on the horn, and the ghostly voice answers on the cor anglais. Meanwhile Candelas and her living lover have settled matters while the ghost has been otherwise engaged, and in the Finale, a musical picture of morning sunrise, bells are heard heralding the triumph of Candelas over the powers of evil.
The Reverend J. W. WELCH
THIS talk introduces a new series in which men who have intimate knowledge of life as lived by various native communities in Africa will attempt to recapture its colour and texture for listeners. The Rev. J. W. Welch describes Southern Nigeria, a land of swamp and jungle, and the life which flows round the village compound, dominated by laws of custom and religion born of primitive fear.
Rev. J. W.
WEATHER FORECAST, SECOND GENERAL
JACK HARRIS 'S BAND, from GROSVENOR
HOUSE, PARK LANE
(And perhaps the Song of the Nightingale)