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IN housework, as in so many other things, a little organization, based on sound information. can do wonders. Certain jobs must be cot through, but even arranging them in the right order can make a wonderful difference. Organizing housework is one of the surest ways of ' keeping fresh.' that most important requisite for health and efficiency alike.

INSECTS are in many ways the most wonderful section of the animal world, and some theorists have predicted that they will ultimately succeed mankind. At any rate. some of them do quite a lot to hasten the consummation by spreading disease amongst humanity. Flies go from the dustbin to the larder, and from decaying meat to the milk-pan in the dairy, and on those marvellously-fashioned feet of theirs they carry the seeds of disease. This is the important subject that Dr. Parsons will develop tonight.

Played by JAMES CHING
Aria and Gigue from Partita in D Major
Prelude and Fugue in A Minor
THE Aria is a simple-minded, pleasant little piece. The Gigue is the usual two sections : the first opens in a fugal style, and the second not with the same subject, as is usual with Bach, but with another one of a more flowing type, against which, however, the first tune soon enters as a foil.
THE Prelude consists of a mere ten bars of wide chords, intended to be arpeggioed as the performer's taste may suggest. Certain others of Bach's Preludes are mere successions of harmonies (the first Prelude of the ' 48 ' is a beautiful example), but usually he has himself written out in full the passages which he wishes to be developed from them.
This practice did not seem strange in a day when composers invariably left their aceompaniments in a skeleton ' state, printing only the bass, with figures above it to indicate what notes were to be added to make up the harmony.
The Fugue is the longest Bach ever wrote for
Clavichord or Harpsichord. The subject is itself a long one, being a rapid flowing stream of over sixty running notes. The current of tone continues unchecked from beginning to end of the piece. Near the end is an exciting Cadenza, derived from the subject ; it begins low down and gradually overflows the keyboard.

Contributors

Played By:
James Ching

By CONSTANCE D'ARCY MACKAY
Cast :
Incidental Music by JULIAN HERBAGE
THIS is a short one-act play depicting an incident in the life of George Romney , the artist.
George Romney , son of a Lancashire cabinet-maker, was an eighteenth-century painter of such fame that he was regarded as a rival to Sir Joshua Reynolds himself. He married his landlady s daughter, the Mary ' of this play, when he was only twenty-two., and, leaving her in Kendal, saw her hardly at all during his successful career in London and in Italy. Of Lady Hamilton, the ' Divine Emma,' under whose enchantment he fell, he seems to have painted at least forty pictures, including the bewitching ' Lady Hamilton as Bacchante ' in the National Gallery. When he was old and ill and desolate he returned to his wife, who received him without reproach and nursed him until he died. ' This quiet act of hers is worth all Romney's pictures,' said Edward Fitzgerald.
The Scene takes place in the living room of Mary Romney 's cottage in a village in the North of England, in the year 1799. Through the old oak door of the room, which opens on to a wild stretch of moorland scenery, the light of late afternoon shines on Mary Romney as she sits at her spinning wheel. She is no longer young, but age has touched her lightly; her figure is still straight, though her hair is snow-white. There is about her an air of gentle strength, and in her eyes the look of a spirit that is never done 'hoping.
She wears a dress of dove-grey homespun, with a white linen kerchief crossed on her breast.

Contributors

Unknown:
Constance D'Arcy MacKay
Music By:
Julian Herbage
Unknown:
George Romney
Artist:
George Romney
Unknown:
Sir Joshua Reynolds
Unknown:
Edward Fitzgerald.
Unknown:
Mary Romney
Unknown:
Mary Romney
George Romney:
Ben Webster
Mary:
Lilian Mason
Lucy:
Cora Wilcock

2LO London

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This data is drawn from the Radio Times magazine between 1923 and 2009. It shows what was scheduled to be broadcast, meaning it was subject to change and may not be accurate. More