Special reading and prayers
Alleluia, hearts to heaven and voices raise (A. and M. 137)
*e choirs of new Jerusalem (A. and M.
This series began in the New Year and gained in popularity. It combines usefulness with surprise and topicality. The twenty minutes available are divided up among four speakers who
. come to the microphone each week and give listeners some household hints or some topical news, or something equally interesting. Thursday morning is a useful morning.
At the Organ of The Tower Ballroom,
The Concertgebouw Trio of Amsterdam : Trio in D minor : Andante and Scherzo (Mendelssohn)
Friedman (pianoforte) :
Gavotte Gluck , arr. Brahms) ; Berceuse (Chopin)
Pro Arte Quartet: Interludium in modo antico (No. 3 of Five Novellettes, Op. 15) (Glazunov)
Directed by NORMAN AUSTIN
The New Victoria Cinema, Edinburgh
Directed by FRANK STOKES
Relayed from The Pavilion Theatre,
Relayed from Westminster Abbey
Order of Service
Psalm 119, w. 17-32 (inclusive)
Lesson, Isaiah lxii, 6-end Magnificat (Wood in E) Lesson, Mark iv : 21-34
Nunc Dimittis (Wood in E)
Anthem, A Song of Wisdom (Stanford) Hymn, The strife is o'er, the battle done (A. and M. 135)
The Berlin Philharmonic Orchestra, conducted by Julius Priiwer : Overture, Egmont (Beethoven)
Sigrid Onegin (contralto), Berlin
Doctors' Choir, and Berlin State Opera Orchestra, conducted by Kurt Singer :
Alto Rhapsody (Brahms)
The London Symphony Orchestra, conducted by Albert Coates : Fountains of Rome (Respighi)—Fountain of Valle Giulia at Dawn ; Triton Fountain in the Morning; Fountain of Trevi at Midday; Villa Medici Fountain at Sunset
Leeds Festival Choir and The
London Philharmonic Orchestra, conducted by Sir Thomas Beecham : Choral Dance (Prince Igor) (Borodin)
by PHILIP TAYLOR
The Town Hall, Cheltenham
OLGA ALEXEEVA (soprano) All arrangements by Medvedeff
including Weather Forecast and Bulletin for Farmers
under the direction of C. SANFORD TERRY , Litt.D., Mus.D., LL.D. (Hon Fellow of Clare College,
BRADBRIDGE WHITE (tenor)
LOUIS WILLOUGHBY (violin)
J. F. CASTELDINI (bassoon)
PETER BEAVEN (violoncello)
ERNEST LUSH (harpsichord)
Cantata, No. 160, Ich weiss dass mein
Erloser lebt (I know that my Redeemer liveth)
(Director of Studies, Royal Institute of International Affairs)
The purpose of this series is to continue the examination of the post-war European situation, started in the talks on ' The Treaty of Versailles and After ' given last summer. A good many people feel that the problems of the countries on the Danube have a direct bearing on the peace of all Europe, but their history, like their geography and personalities, is unknown. Therefore experts on Danubian affairs are to explain something of the conditions and significance of life and events in that part of Europe.
In this evening's opening talk Professor Arnold Toynbee , Director of Studies at the Royal Institute of International Affairs, is to describe the ' Historical Setting '.
This series should be of particular value to listening groups interested in peace and international affairs. And leaders of groups, and others who would follow the series closely, should avail themselves of the new pamphlet in connection with it, which can be obtained from any B.B.C. Station, price 4d., by post 5d.
In Memory of ' Those who died before Byzantium
To save the fishy straits of the sea
Men swift in the work of War'.
The Programme compiled from the works of Winston S. Churchill
Sir Ian Hamilton
Compton Mackenzie and the Official War History
Produced by VAL GIELGUD
including Weather Forecast and Forecast for Shipping
Conducted by The Rev. W. H. ELLIOTT
St. Michael's, Chester Square
Rev. W. H.
THE B.B.C. ORCHESTRA
Leader, ARTHUR CATTERALL
Conducted by ANTON WEBERN
When Schubert died his Unfinished Symphony, which had never been performed during his lifetime, lay hidden somewhere in the town of Gratz, of whose Musical Society Schubert was a member. It was for this Society that Schubert is supposed to have composed the B minor Symphony.
Ultimately, after years of search, the manuscript of the Unfinished Symphony was found.
Why it remained ' unfinished ', or whether, indeed, the composer's ultimate intention was ever to finish it at all, can never be known. We do know, however, that it was the work of a new Schubert, a genius for the first time probing the remoter depths of a mature imagination. When we reflect th?t it was followed not only by the Symphony in C, which we know and glory in, but by another that a century of search has failed to trace, we can only make a guess as to what further beauties we may have lost.
Anton Webern and Alban Berg are Schonberg's two most distinguished pupils. Webern was born at Vienna in 1883, and except for a few years as theatre conductor, he has devoted his entire energies to composition. But most of Webern's works are on a very small scale, and may be said to be the result of great concentration of thought. He has an amazing gift of conveying the most vivid impressions by the slightest of means, and many of his most expressive pieces are so short as to seem like a mere flash of light, a brief whisper of the wind as it passes. And yet each holds within its momentary compass a wonderful wealth of thought and feeling ; though it may take but a moment to give its message, it is a message which stays long after in the listener's mind. The Five Orchestral Pieces have well been described as ' moments of lyric ecstasy '.
The Passacaglia for Orchestra, unlike most of Webern's music, is laid out on a big scale. It exploits the old Passacaglia form with considerable freedom and complexity.
In a foreword to one of Webern's chamber works Schonberg defines the listener's position : ' Only they will be able to understand these pieces who hold the faith that tone can express something which nothing but tones can express. They can no more be subjected to criticism than this or any other faith can be. Faith can move mountains, but disbelief is incapable of allowing that the mountains exist. Against this incapacity faith is powerless. Do the players know how to play these pieces ? Do listeners know what to make of them ? Could faithful players and listeners fail to surrender to one another in perfect understanding ? But what is to be done with the heathen ? No need to resort to the sword or the stake : only the faithful can be excommunicated. But may this stillness of Webern's convey its message to them all ! '
Lou PREAGER AND HIS Band
Relayed from Romano's Restaurant