PHYLLIS MACDONALD (Violin)
DOROTHY FOLKARD (Pianoforte)
From ST. BOTOLPH'S, BISHOPSGATE.
THE HOTEL METROPOLE ORCHESTRA
(Leader, A. MANTOVANI ) From the Hotel Metropole
Personally conducted by JACK PAYNE
ANDREW BROWN'S QUINTET
BERTRAM NEWSTEAD (Baritone)
We shall pause at the eighth stair for:
' Rosemary Anne ,' by HELEN ALSTON , and ' The Fine Lady '—a not-so-young version of an old rhyme, as written by MAUD MORIN
Proceeding to the tenth stair, we shall listen to: 'The Traction-
Engine ' and other songs by STANLEY MARCHANT , and ' Frodgedobbulum's Fancy '—(a Tissue of Nonsense)
The continued ascent will provide such pleasures as ' Off the Ground '
(Walter de la Mare) and ' Shepherd's Hey '
(There will be room to dance to this on the landing at the top)
From the Prince of Wales
SONGS BY SIR HUBERT PARRY
Sung by ELSIE SUDDABY (Soprano)
MEN obey the State as it satisfies their wants'
. The State is therefore an organization for that end, and it is judged by what it does towards that end. It exists to enable its citizens to realize, as far as possible, the demands of their personality. Its power is therefore a limited power ; unless it is successful in achieving its end, it will not ultimately secure bbedience, and if it uses bad methods, it will be challenged by those who suffer from their results. Professor Laski will discuss this aspect of the question of civil obedience this evening in his fifth talk.
EMIUA CONTI (Soprano)
SEXTET Waltz, ' Tales of the Vienna Forests ' - J. Strauss
7.55 EMILIA CONTI Habanera (' Carmen ') - Bizet
Cecilia - Canadian Folk Song, arr. Vuiller Moy
When I was young - D'Hardelot
8.2 SEXTET Two Shakespearean Sketches Nocturne ; Masquerade - O'Neill
8.12 EMILIA CONTI Serenade (from ' Passa Pierrot') - De Leva
L'ultima canzone (The last Song) - Tosti
The Early Morning - Peel
8.20 SEXTET Colonial Song - Grainger
Irish Reel, 'Molly on the Shore ' - Grainger
THIS performance of a striking pianoforte work is the second of that series, the first of which was devoted to Beethoven's Hammerklavier
Sonata. The works in this scries will be such as on account of their length do not come within the scope of ordinary programmes. They will be interpreted by players who bring to their interpretation high executive skill.
Liszt's Sonata, one of his few works without a 'programme,' was written in 1853 or 1854, and dedicated to Schumann.
The Sonata is in one continuous Movement, its themes undergoing changes of mood and its sections worked into a whole with ingenuity and power. It begins with a few bars of slow music containing a descending theme, and goes on to a quick, imperious tune which is almost at once joined by a bold knocking theme in the bass. Much peremptory challenging music is based on . these two ideas, and then the descending. originally slow figure returns, to bring in a grandiose hymn-like tune in a major key, accompanied by throbbing chords.
Soon we hear an expressive tune. beginning with five repeated notes, singing out aloft. This, it will be heard, is an example of Liszt's metamorphosis of themes, for it is the tune we heard in the bass, in another mood, soon af ten the quick part began.
We have now got hold of the chief material-the (at first slow) descending tune, the two that ' opened the ball' so energetically, and the broad hymn-like one. Easily to follow Liszt's dealings with them only requires familiarity with the work.
Its second main division is in three-time. Here the themes show themselves in richly sentimental vein, now peaceful, then impassioned. The descending theme of the Introduction again enters, leading us to the third and last section of the Sonata. Here begins some brisk, incisive fugal work, and with restatements of the themes we know, the work moves on to its end in a blaze of excitement. Just for a moment we hear a strain from the slow section, and then, very slowly, the descending theme of the Introduction brings down the curtain on the Sonata.
No more stupendous enterprise has been completed since printing was invented than the Oxford English Dictionary, which crowned a lifetime of scholarly labour by a final triumph when the last volume was issued this year. Many interesting stories have already been told about this extraordinary chapter in English literary history, but Professor George Gordon , who is Merton Professor of English Literature at Oxford, will review the whole scope and quality of the work in his talk tonight.
(Relayed from the Royal Opera
House, Covent Garden)
AT night, before her house in the lonely valley of Sorek, Delilah muses on her plot to be avenged on the Israelites. The High Priest comes to beg her to betray Samson, the Hebrew leader. She is only too ready to do so, to avenge her people. She determines to get from him the secret of his power.
Now a storm arises as Samson comes to
Delilah's dwelling. She exercises her arts of fascination upon him, but in the roll of the thunder Samson hoars the warning voice of God. Delilah spurns him and rushes into the house, but her work is done. for Samson cannot resist, and follows her. The Philistine soldiers now creep in, and in a few moments Delilah appears at the window holding Samson's shorn hair, and exclaiming: 'Tis done!' Samson, crying ' Betrayed ! ' is overcome and bound.
JAY WHIDDEN'S BAND from The Carlton Hotel