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mHIS afternoon's talk, continuing the series
-L on ' The Care of our Pets,' has for its particular subject ' Cage Birds and their Needs.' It will deal particularly with the canary, the love-bird, and the parrot. It must remain a dubious point as to whether birds can ever be happy in cages, but it seems likely that some will always be kept behind bars, as the growth of Cage Bird Societies in recent years proves; so that it would seem useful and humane to spread as widely as possible information which should conduce to the health and proper treatment of such birds.

THIS evening's talk may be termed a special treat for all Scouts and Girl Guides, and those responsible for their training and entertainment. Mr. E. Stuart Monro , with the authority derived from his position as Dramatic
Adviser to Boy Scout Imperial Headquarters. is giving his views on ' Play-acting for Scouts.' Serious amateur theatricals are increasing steadily all over the country ; and the imagination, concentration, and team-work involved in any successful production are realized to be of value to any association of boys or girls.

Chromatic Fantasia and Fugue
IN the Fantasia are seen signs of the origin, in primitive organ display, of many pieces of this prelude type, a good deal of it being of the nature of mere bravura scale passages, or of a series of chords, each broken up, arpeggio fashion. There is nothing contrapuntal (woven) about the piece ; it is mainly an exhibi tibn of tone-effects, and as such, very exciting. There are also some striking passages of a Recitative character.
The Fugue is one of the longest of all the Fugues Bach wrote for clavichord or harpsichord. Its well-thought-out and very logical structure is all the more effective after the uncontrolled impetuosity of the preceding Fantasia. It is in three ' voices.' The chromatic nature of the subject (its creeping by small degrees) naturally leads to much boldness of harmony.
The Chromatic Fantasia and Fugue probably date from about 1720, when Bach was thirty-five, and had already composed the greater part of his organ music.

IN his third talk, last week, Professor Tattersall told how man, by upsetting the balance of Nature, has laid himself open to attack by all sorts of disease. This evening he will describe how in the same way man breeds countless races of animals and plants for his own special purposes—horses for speed and strength, flowers for colour and scent, and so on-without any consideration of what ultimate effects this special development may have. So he has filled his world with domestic animals and plants highly susceptible, because over-bred, and terribly vulnerable to the attacks of parasites; and at the same time his domestic animals introduce their own parasites into Darts of the world where. in the normal scheme of Nature, they would never be.

7-45 Livio Manucci (Violoncello) Largo - Tartini
Minuet - Becker
Lullaby - Cyril Scott
Allegro Spiritoso - Senaillé

Specially devised and arranged by the well-known theatrical director
WITHOUT very serious exaggeration, it may be said that Andre [Chariot is the father of revue in England. Before the war, he came over from Paris (where he had gained experience in many types of theatre, from the Chatelet to the Ambassadeurs) to run the Alhambra, and there he produced such early revues as Keep Smiling and 5064 Gerard. His shows at the Vaudeville are still happy memories to many of the men who spent leave in London during the war; Cheep (which set a new fashion in intimate revue), Pot Luck and the rest, all full of wit and ingenious fun.
Since those days he has produced shows at several London theatres, including the long series of ' Chariot's Revues ' at the Prince of Wales, with such artists as Beatrice
Lillie and Gertrude Lawrence ,
Jack Buchanan and Maisie
Gay. Now, in his invasion of the broadcasting studios, he has shown that the old show-man has still got more than a trick or two up his sleeve.

5XX Daventry

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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