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There are many ways of seeing the Empire cheaply - joining the Air Force, shipping on an ocean tramp, and various others involving differing degrees of hardship to the voyager; but Miss Lintott Taylor has discovered one of the least irksome. Starting from Australia, she has reached England via India, Burma, South Africa and Rhodesia (where she intends to settle), maintaining herself by school-teaching. She will have some very interesting experiences to recount in her talk this afternoon.

A Big Noise and a. Little Silence (a Study in Contrasts). GORDON BRYAN will play ‘ The Sea ' and ' La douce Jeanneton,’ together with other Piano Solos. 'The Fourth Junior Entertainment,' a very Rowdy Show, from The Fifth Form at St. Dominic's' (T. B. Reed). The Pool of Silence,' a Story by Stephen Southwold

(S.B. from Manchester)

Napoleon's fame as a conqueror and as a captive has tended to obscure his vast and solid achievement as a ruler, legislator and codifier of law. But in reality the Code Napoleon is as monumental a feat as the most spectacular exploits of the Grande Armee; and it has the advantage of enduring to this day. In this talk Miss Phythian will recall Napoleon's record as a master of the arts of peace.

PAUL HERMANN (Violoncello)
THE NATIONAL SYMPHONY ORCHESTRA
Conducted by Sir HENRY WOOD
Relayed from the Queen's Hall (First Performance in England)
MARCEL LABEY is a French composer, born in 1875, who after being one of d'Indy’s pupils at the Sehola Cantorum, became a Professor of Pianoforte there. He is a member of the Société Nationale de Musique, which since 1871 has given many concerts every year, to introduce the works of living French composers.
Labey's compositions include a three-act
Opera, Birengere, which won a prize in 1927, two Symphonies, an orchestral Fantasia, and this Overture for a Drama, besides sonatas and other chamber music, and songs.
ERNEST BLOCH , born in Switzerland of Jewish parents, forty-eight years ago, is notable as a composer who in several of his works set out to write music embodying the spirit of ancient Jewry, with its sombre dignity, its barbaric element, and its sense of remoteness and mystery.
He himself has said of his work :—
' It is not ray purpose, not my desire, to attempt a " reconstitution ” of Jewish music, or to base my work on melodies more or less authentic. I am not an archaeologist. I hold it of first importance to write good, genuine music, my music. It is the Jewish soul that interests me, the complex, glowing, agitated soul, that I feel vibrating throughout the Bible: the freshness and naivete of the Patriarchs ; the violence that is evident in the prophetic books ; the Jew's savage love of justice ; the despair of the Preacher in Jerusalem; the sorrow and the immensity of the Book of Job ; the sensuality of the Song of Songs.'
The Symphony ' Israel* is in two main Movements, the first having an Introduction, which leads to the quick, agitated Movement proper. This contains music both wild and calm, but the storms of life do not subside in it for long.
The other Movement, which succeeds without break, is in gentler mood, and in this Bloch employed the voices of two Sopranos, two Altos and a Bass.

(Continued)
DVORAK'S 'Cello Concerto is one of his best works, and one of the best existing works for the instrument. It is written in three separate Movements, and scored for a fairly large Orchestra.
FIRST MOVEMENT (Quick).—The First Main
Tune is given, without preliminary, by Clarinets in their low, reedy register, joined at the third bar by Bassoons an octave lower.
This tune is really a ' motto ' Theme, dominating this Movement and recurring in the last one.
SECOND MOVEMENT (Not too slow).—The chief substance of this Movement consists in expressive, lyrical and decorative work for the soloist. The chief Tune opens in the Clarinet. The Solo Violoncello enters after the first phrase.
THIRD MOVEMENT (Moderately quick).-
Dvorak's instinct for musical colour led him to open the Main Tune, at the start of the Finale, with Horns ; indeed, the very nature of the Tune is obviously that of a Horn-call.
There are many other tunes introduced in this
Movement, but that is the one that should stick in one's mind, together with the ' motto' theme from the First Movement, softly referred to in the Finale.

PAUL HERMANN and Orchestra Violoncello Concerto - Dvorak
9-55 ORCHESTRA Prelude and Closing Scene from ' Tristan and Isolde' - Wagner

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