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Conducted by Dr. E. C. BAIRSTOW
Procession into the Minster, reciting of the Creed, Lord's Prayer and Lesser Litany
BACH has put into his musical setting of the Passion of Jesus a wealth of poignant meaning, and yet he treats the story so simply that there is nothing any listener cannot understand-nothing of which he cannot at once feel the power and the truth.
The Composer aims at making every hearer a participant in the events his music depicts.
The narrative is unfolded in solos and choruses.
Every now and again are interpolated ' Chorales ' -verses of Lutheran hymns, commenting on the story, and these are intended to represent the emotions and reflections of us listeners as we picture ourselves among the crowds looking on at the events described.
The protagonists of the drama are : the EVANGELIST (Tenor), who gives the connecting narrative ; and JESUS (whose words are sung by a Bass).
The voice of PETER is also heard, in a few
There are solo portions, commenting on the story sung by a Soprano, an Alto, a Tenor, and a Bass.
The FIRST PART of the work tells how the chief priests and the scribes conspired to seize Jesus, while He went about doing good. We follow the treachery of Judas at the Passover, Peters sturdy insistence on his unshakable loyalty, and our Lord's agony in Gethsemane.
This Part of the work (all we are to hear from London on the present occasion} closes with the taking of Jesus by His enemies.
The Second Part is being broadcast from
Daventry at 4.20.


RUBY HELDER (Tenor) ; ELSIE BLACK (Contralto) ; HERBERT FRYER (Pianoforte)
COMPOSERS often make orchestral pieces out of the material of their operas. Rimsky-Korsakov. in this case, reversed the process, and made the Opera, Sadko, out of an orchestral work.
The story, as prefixed to the score of the symphonic poem, is as follows : —
' The ship of Sadko, a well-known citizen of Novgorod, stops in the sea. Lots are drawn, and Sadko himself is thrown overboard as a tribute to the Sea-King..... The ship then goes on its course.
Left alone in the midst of the waves. Sadko, with his lyre, is entertained by the Sea-King in his submarine kingdom. Great festivities are taking place, the Sea-King having just married his daughter to Ocean. The King. having requested Sadko to play on his lyre, begins, with all his court, to dance. Ocean dances too. rises and swallows up the ships ; ... then Sadko slackens the strings of his lyre, the dance ends and the sea becomes calm.'


Pianoforte: Herbert Fryer


Address by the REV. H. R. L. SHEPPARD


Unknown: Rev. H. R. L. Sheppard

: THE WEEK'S GOOD Cause : Appeal by the BISHOP or SOUTHWARK on behalf of the Twenty-five Churches Fund

THE diocese of Southwark is at present struggling with the exceptional difficulties caused by the shifting of population in the suburbs of South London and its outlying towns. One parish that had a population of a thousand six years ago has now within its borders housing schemes to provide for 42,000 people. These new districts are being adequately equipped with schools, shops, public-houses and cinemas, but no churches. To meet the needs of those parishes that are not able to provide for themselves, an attempt is being made by a representative council to raise £100.000.
Donations should be sent to [address removed]


Relayed from the Grand Hotel, Eastbourne
DISGUISED as a student, the profligate
Duke of Mantua has been making love to
Gilda. She is infatuated, and after he has gone, she sings this song of her happiness ; her lover's dear name (he has given her a false one, alas !) is, she declares, for ever written on her heart.
LISZT'S idea in composing the Hungarian
Rhapsodies was, as listeners know, that of glorifying the music of his native land. No folk music has ever been more gorgeously framed than were the gipsies' tunes-which Liszt used in his sonorous fantasias. He adopted the gipsy plan of placing together a slow Movement (called a Lassan) and a quick one (the Friszka).
The Second Rhapsody begins with a short
* call to attention.' Then the leading Tune of the Lassan is pompously announced. The ' cadenza ' that follows represents one ot the elements in the free improvisatory style of the native musicians.
The next Tune is quiet, but capricious.
One other melodic idea is given out. and with some varied repetition of the foregoing matter the Lassan portion of the piece comes to an end.
Soon we change to the major key. and a new theme enters in phrases of four notes, with a special stress on the usually weak middle part of the bar. A syncopated accompaniment adds to the sprightliness of this. The next tune is ic wide 'arpeggio ' steps.
One or two other themes, full of zest and point, are brought in, and every kind of sauce is added to make the Rhapsody a piquant dish indeed.

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