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MACLEOD, ' Problems of Speech—I, Articulation Difficulties'
Miss E. C. MACLEOD , of tho Orthophonie Department of King's College Hospital, begins this morning a series of four talks. In her first talk she will deal with articulation difficulties, such as faulty ' s ' and ' r ' sounds, and the substitution of ' d ' and ' t ' for ' g ' and ' k,' also the omission of- consonants.
(Listeners are advised to have a hand mirror ready, as well as pencil and paper)

MEDIÆVAL life saw the beginnings of the modern system of economics ; there was a serious attempt to codify the ethics of commerce (for instance, the theory of the just price and the definition of usury accordiqg to moral contention); sleeping partnership can be traced to 1000 A.D. ; and Capitalism, with its two main factors of standardization and contract jobs, grow up during the Middle Ages. These are some of the points touched upon by Dr. Coulton in this his last talk, which brings us up to the virtual close of the Medieval era, i.e., the dissolution of the monasteries.

(Continued)
S.B. from Manchester
ONE of the brilliant young Russian composers who were pupils of Rimsky-Korsakov, Prokoviev has made a name for himself as a breaker of new paths. His first works attracted attention chiefly by their daring originality, although they were always clearly influenced by an interest in the old classical forms. His music, like his own pianoforte playing, is terse and vigorous, rather than emotional, and his themes are generally short and very strongly rhythmic.
Composed in 1914, and appearing as Op. 20, the Suite is in four movements, each dealing with one aspect or another of the legendary Scythians-the ancient race of whom such widely differing stories have come down to us from historians of other days.
The first movement—' The worship of Veless and Ala '-is marked . allegro feroce, and the indication is a fitting one. Though only flutes, clarinets, trumpets, drums, pianoforte and strings are used at first, the effect, from the outset, is one of terrifying force and energy. The speed slackens soon, but a remorseless rhythmic strength keeps up the sense of menace, and long glissandos both in harp and pianoforte contribute, to the effect. Towards the end, the movement grows slower and more mysterious, to die away at last in a mere whisper.
' The hostile god and the dance of the black (evil ) spirits,' the second movement, is in a broader allegro. Hero, too, the effect is gained largely by rhythm which persists with ruthless hammer strokes throughout most of the movement.
In striking contrast to the rugged strength of the first two, the third movement is, for the most part, soft and mysterious, presenting ' Night,' but a night of weird, unholy, visions rather than reposo.
The fourth movement is ' the glorious departure of Lolly and the Sun's train.' Its beginning is well described by the indication ' tempesleso,' but soon there is a more sustained section with a capricious, leaping melody for clarinets. The later part of the movement is again in quicker tempo, but the very end is a majestic andante of groat breadth and power.
ARTHUR
CATTERALL Violin solo

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