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From page 96 of 'When Two or Three'

: A Programme of Gramophone Records

Simon GoMberg (viotin), Paul Hinde mith (vioia), Emanuet Feuermann
(viotonceUo): Serenade m D, Up. B (Beethoven)


Unknown: Simon Gomberg
Unknown: Paul Hinde
Unknown: Emanuet Feuermann

: For the Schools

Districts of England
The North East Corner—I
'Hills and Moors '
Edith M. Coulthard
For three weeks you have been in the extreme South-West corner of England; you are now to go to the extreme North-East To a colder climate, to a district embracing Northumberland and Durham bounded by the sea only on one side - a place of moors just as lonely as the Cornish moors, though the district as a whole has a dense population; to a mining country, too, though here the mining is for coal, and not for tin and copper; to a fishing country but mainly fishing from a different kind of boat.
Here, on the border, when Scotland was a separate kingdom, there were raids and pitched battles. Here along the Tyne Gap, from Wallsend to Carlisle (in Cumberland) runs the great wall that the Romans built to keep out their enemies.
This morning Miss Edith M. Coulthard is to speak about the climate and the moors; about caves in limestone and waterfalls; about the nowers and birds of the Pennines; and about a moorland farm.


Speaker: Edith M. Coulthard


Directed by NoRMAN AUSTIN
Relayed from
The New Victoria Cinema, Edinburgh


Directed By: Norman Austin


' Tracing History Backwards '
Governments Now and Then—4
' The Ofncc of Prime Minister Then '
K. C. BoswELL


Unknown: K. C. Boswell

: Bio!ogy

How Life is Lived—4
' Do Animals Think ? '
DoRis L. MACKINNON , D.Sc. (Professor of Zoology, King's Co))cge, University of London)


Unknown: Doris L. MacKinnon


Psatms 73, 74
Lesson, i Kings xix, 1-16, l8 MagniScat (Alcock m B nat) Lesson, Phitippians iii, 7-end
Nunc Dimittis (Alcock in B Sat)
Anthem, 0 King of Kings (Bullock)
Hymn, The God of Love my Shepherd is(E.H.93)

: A Programme of Gramophone Records

The Berlin Philharmonic Orchestra, conducted by Wilhetm Furtwangler : Overture, The Serag)io (Mozart)
The London Philharmonic Orchestra, conducted by Serge Koussevitsky : Symphony No. 5, in C minor (Bfft/to!,'<'n) — t. Allegro con brio; 2. Andante con moto ; 3. Scherzo: Allegro; 4. Finale: A!)egro
The London Philharmonic Orchestra, conducted by Sir Hamilton Harty : Russia (Balakirev)


Conducted By: Wilhetm Furtwangler
Conducted By: Serge Koussevitsky
Conducted By: Sir Hamilton Harty

: S An Organ Recital

Relayed from
St. Michael's College, Tenbury


Directed by HENRY HALL


Directed By: Henry Hall

: Time Signal, Greenwich, The First News

including Weather Forecast and Bulletin for Farmers

: The Foundations of Music Handel Celebration

under the direction of EDWARD J. DENT
German Songs sung by GWENN KNMHT (soprano)
Viohn obMigato, MARIE WiLSON
At the harpsichord., ERNEST LusH
Das 'Aittemde Gtanzen der spielenden
Welten (The shimmering sheen of the frolic ome waves)


Soprano: Gwenn Knmht
Unknown: Marie Wilson

: Roundabouts

(See MMtM of page)
This play is a tribute to the judges in the recent £50 competition run by Popular Wireless who awarded it the nrst prize. !t has no trimmings, no procrastinating opening, it comes to the point at once.
The firm of Bannister and Co. is in deep water, and has only kept afloat by handling a * Meastone contract'. A mysterious Mr. Wenzler telephones Bannister. Bannister sends for Carter, with over twenty years' service in the firm, tells him he has to cut down expenses, and dismisses him. Carter, under notice, makes the startling reply that he will think it over and give his decision tomorrow. Is a situation more arresting to be found in many plays a minute or two after the rise of the curtain ?
It seems that when Bannister handled the Meastone contract he put conscience on one side for the sake of his family. Carter is fifty; unlikely to get another job. He is not the man to wish to stay with a firm that is dishonest, or the man to launch lightly on blackmail. But 'a principle - a conscience', he tells Bannister, 'does not seem so important a thing beside the need of a family'.
And yet he is not prepared to sacrifice his conscience unless his family are worth the sacrifice. He goes home to find out.
This is the situation at the end of the nrst scene of the play.
Roundabouts will be repeated in the Regional programme tomorrow night.




Leader: Montague Brearley
Conductor: Stanford Robinson
Conductor: Jack MacKintosh

: r/MM Signal, GrMm<t<c/; The Second News

including Weather Forecast and Forecast for Shipping


Conducted by The Rev. W. H. ELLMTT
Rejtayed from
St. Michaet's, Chester Square


Unknown: Rev. W. H. Ellmtt
Unknown: Chester Square

: The B.B.C. Orchestra (Section E)

Conducted by JOSEPH LEWIS
ALICE MOXON (soprano)
ELGAR'S Music for Children including a selection from The Starlight Express
Dream Children and The Wand of Youth Suites
One of the most charming sides of Elgar's musical personality was his occasional nights into a children's world of fantasy.
The music of the two ' Wand of Youth ' suites was firstly sketched out when the composer was a boy of fourteen. Elgar did not complete these delicate little pieces for orchestra until he was nearly fifty, and even then he was not entirely satisfied with the result, for he later revised the orchestration. The Wand of Youth
Elgar has told us the origin of the idea of the music: 'Some small grievances occasioned by the imaginary despotic rule of my father and mother (the Two Old People) led to the devising of "The Wand of Youth". By means of a stage-allegory (which was never completed) it was proposed to show that the children were never properly understood. The scene was a woodland glade intersected by a brook.
The hither side of this was our fairyland. Beyond, small and distant, was the ordinary life which we forgot as often as possible. The characters, on crossing the stream, entered fairyland and were transformed. The Old People were lured over the bridge by the " Moths and Butterflies" and "The Little Bells ", but these devices did not please. The Old People were restive and failed to develop that fairy feeling necessary for their well-being. While fresh devices were making, " The Fairy Pipers " entered in a boat and charmed them to sleep. This sleep was accompanied by " The Stumber Scene ". Here we notice that the bass consists wholly of three notes (A,D,G,), the open strings of the (old English) double bass. The usual player was required for stage management, but the simplicity of the bass made it possible for a child who knew nothing of music or any instrument to grind out the bass. I may add that I myself "constructed" the double-bass, and the monstrosity was in existence a few years ago. To awaken the Old People, glittering lights were flashed in their eyes by means of hand-mirrors, "Sun Dance". Another episode is "The Fountain Dance", in which the music follows the rise and fall of the jets. As a matter of fact, the water was induced to follow the music by means of a football worked by myself. The character of the other episodes can be deduced from the titles. The whole production was concluded with a March .'
After reading Chartes Lamb's "Dream Children" from the Essays of Elia, Elgar was moved to compose two orchestral pieces which he entitled 'Dream Children'. The two pieces illustrate the mood of the following passage : 'And while I stood gazing, both the children gradually grew fainter to my view, receding, and still receding, till nothing at last but two mournful features were seen in the uttermost distance, which, without speech, strangely impressed upon me the effects of speech: "We are not of Alice, nor of thee, nor are we children at all.... We are nothing; less than nothing, and dreams. We are only what might have been." '
The Starlight Express
'The Starlight Express' first appeared as incidental music to Algernon Blackwood's fantasy which was produced at the Kingsway Theatre in 1916. Both the music of this work and of 'Dream Children' bear a certain resemblance to that of the 'Wand of Youth '. In fact 'The Starlight Express' contains actual quotations from the latter.


Conducted By: Joseph Lewis
Soprano: Alice Moxon
Baritone: Stuart Robertson


Relayed from Grosvenor House, Park Lane


Directed By: Sydney Lipton

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