at the Organ of the Plaza Cinema,
Leader, Frank Thomas
Conductor, Idris Lewis
Sophie Rowlands (soprano)
by Joan Adeney Easdale
The life of Mrs. Tsabella Mary Beeton and the story of how the famous Cookery-Book came to be written
Produced by John Richmond
One of the interesting things about this serious play on the life of Mrs. Beeton (it should not be confused with Meet Mrs. Beeton, du Garde Peach's skit broadcast in January, 1934) is how its youthful author came to write it. She was only twenty when she made up her mind to write a book about Mrs. Beeton-she used the famous cookery book and wanted to know something about its author. But nobody could tell her. Joan Easdate 's publishers (she was writing verse when she was fourteen) gave her an introduction to Sir Mason Beeton , Mrs. Beeton's son. He gave her all the help he could, but he was an infant when his mother died.
And so Joan Easdale started on her four years' search. At Pinner, trying to find Mrs. Beeton's first home after marriage, a road sweeper directed her to a butcher, who sent her to an undertaker, who sent her to the bedside of an old woman, who had actually known Mrs. Beeton. At Greenhithe, where Mrs. Beeton died in her twenty-ninth year, Joan met Gentleman Hoadly, who remembered her and said how very friendly she had been with everyone.
She found that four years' research more exciting than writing either the book or the play.
by , W. B. Ross from the Usher Hall, Edinburgh
from the Houldsworth Hall ,
A Recital by Lotte Leonard (soprano)
At the Pianoforte, Albert Hardie
(By permission of Major C. C. B. Morris, M.C., Chief Officer, London Fire Brigade)
Conductor, Frank Burnell
Tina Bonifacio (harp)
Harry Dyson (flute)
(Northern. Ireland Programme)
Leader, Harold F. Petts
Conductor, Ernest W. Goss
Dorothy Clark (contralto) from the Pavilion, Torquay
Leader, A. Spiero
Under the direction of Emilio Colombo from the Hotel Victoria, London
by Helen Henschel
Brahms : The Island of Rugen,
The BBC Singers (A)
Margaret Godley Margaret Rees Gladys Winmill Doris Owens Bradbridge White Martin Boddey Stanley Riley
Samuel Dyson Conductor, Leslie Woodgate At the pianoforte, Ernest Lush
and his Band with BILL CURRIE and RAY ELLINGTON
including Weather Forecast
Harry Engleman and a Piano
from the Central Hall, Liverpool
Henry Hoist (violin)
The Liverpool Philharmonic
Leader, Alfred Barker
Conducted by Albert Coates
Elgar's Violin Concerto was given its first performance by Kreisler at a concert of the Royal Philharmonic Society in 1910. In an article in Grove's Dictionary H. C. Colles points out that it ' is remarkable as the first work of the kind by an English composer which can be said to have taken root in the repertory of violin virtuosi. No doubt Elgar's early training as a violinist stood him in good stead in tackling the technical problems of writing for the solo instrument, and the bravura passages are as successful as they are daring. But more personal qualities make the work live in the affections of listeners '. Sir Donald Tovey has described it as ' one of the most intimate works of this century '.
William H. Reed
When in 1904 that strange, half-crazy genius Scriabin abandoned his wife for Tatyana Schl özer (exactly reproducing the Wagner-Minna-Cosima situation), he had just begun to interest himself in theosophy. With Tatyana he went to the Riviera, and the great orchestral work, begun in the garden of his villa looking out over the Mediterranean, vividly reflects the semi-mystical, semi-erotic current of his thoughts.
Like Scriabin's other orchestral works, the ' Poem of Ecstasy' was first sketched out as a piano composition. (Amusingly enough, the only piano available was a decrepit, out-of-tune instrument hired from a cafe nearby.) Scriabin was never a quick worker and the ' Poem ' was not finished till three or four years later, and then only at the pressing request of the New York conductor Altschuler.
(including Weather Forecast)
SPORT, TOPICAL TALKS
with RITA WILLIAMS
including Weather Forecast
Lotte Lehmann (soprano) accompanied by Erno Balogh : Alte Laute —Op. 35, No. 12 ; Du bist wie eine Blume-Op. 25, No. 34 ; Frühlingsnacht-Op. 39, No. 12 (Schumann). Der Tod, das ist die kiihle Nacht (Brahms)
Alexander Kipnis (bass) accompanied by Coenraad V. Bos: Um Mitternacht ; Wohl denk' ich oft (Wolf)