MAVIS STODDARD (Soprano)
W. R. ALLEN (Baritone)
Directed by GEORGES HAECK from the Restaurant Frascati
Nature Study for Town and Country Schools-II, Humble Bees and Autumn Flowers '
ELEANOR MARSHALL (Soprano)
THE HENRY BRONKHURST TRIO:
Julius ROSTALL (Violin)
AMBROSE GAUNTLETT (Violoncello)
HENRY BRONKHURST (Pianoforte)
4.45 ORGAN RECITAL by EDWARD O'HENRY
From MadameTussaud's Cinema
-in which Little Wortleberry , having gathered in, will gather round
THE WIRELESS SINGERS and THE OLOF SEXTET have been engaged for the celebration and various LITTLE WORTLEBERRIANS (who have already appeared) have promised to take part
By LADY TREE assisted by GRACIE FIELDS and CHARLES LAUGHTON
Pleyed by ISOBEL GRAY and CLAUDE POLLARD
THIS evening Friction is the subject of Dr.
Wood's talk. He weighs its advantages and disadvantages, and deals with the question of work done against friction ; the measurement of friction, and the relation of friction to the efficiency of machines.
Five Preludes, Nos. 20, 21, 22, 23 and 19 Impromptu in G Flat, Op. 51 Ballad in A Flat, Op. 47
Nocturne in C Sharp Minor, Op. 27, No. 1 Study in G Flat, Op. 25
Waltz in E Minor (Posthumous)
WHEN Chopin was nearly thirty he published a book of twenty-four Preludes, one in each key, major and minor. They are very varied in length and character, some being simple expressions of single ideas and others well-wrought expositions of extended trains of thought.
They were written when he was staying with George Sand at Valdemosa, in Majorca, ' in a great abandoned Carthusian monastery, in one of the cells with doors bigger than the gates of Paris,' as he wrote to a friend. ' The cell is in the shape of a coffin, high, and full of dust on the vault..... Before the window orange, palm and cypress trees..... Quietness.... one may shout and r obody will hear.
In these Preludes we have every type of emotion-now gay, now feverish, even morbid, and again restful and introspective.
The name ' Impromptu ' has never been more truly applied than to the four works which Chopin calls by this name. They are shapely works, but they have much of the spontaneity of improvizations.
The Third Impromptu, in G Flat, is one of the least familiar of his pieces. More than one of his commentators finds in it that melancholy, bordering on morbidity, which was one of his characteristics. The first section is a flowing, perpetual motion section.
In the middle there is a long tenor melody.
A Ballad is generally, of course, a definite story put into the form of a song. Many people seem to have agreed that Chopin meant to convey definite stories by the instrumental pieces which he called Ballads. Chopin told Schumann that the poems of the writer Mickiewicz, greatest of Poland's national poets, inspired him.
The Third Ballad is by turns brilliant and graceful.
Many poetical interpretations have been imposed on the Nocturnes. This one in C Sharp Minor has provoked imaginative flights ranging from comparison with the song of a monk to a picture of a murder at sea !
CECILY JAMES (Soubrette)
DESLYS and CLARKE
(in Syncopated Harmony)
THE WIRELESS CHORUS in Plantation Songs
TOM KINNIBURGH (Baritone)
JACK PAYNE and the B.B.C. DANCE
A Comedy in Three Acts by DOUGLAS MURRAY
The Characters :
Scene : The Parlour of Mrs. Calthorpe's seaside cottage at Teignmouth, Devon.
This amusing comedy had a long run when first produced at the Royalty Theatre and has since been successfully revived. A charming widow, Mrs. Calthorpe, wilful, irresponsible, and impecunious, is left a large sum of money on condition that she marries Fergus Wimbush , hailing from Toronto, whom she has never seen. She resolves to learn all about him first and, disguised as her own parlour-maid, ' Perkins,' receives him in her Devonshire cottage. Complications follow thick and fast, but Mrs. Calthorpe is equal to them all. It is a constant favourite with amateurs, and tonight's performance should be of particular interest to those societies that are plapning to produce it this winter.