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: A MILITARY BAND CONCERT

LEILA MEGANE (Contralto) ; TREFOR JONES
(Tenor)
THE WIRELESS MILITARY BAND, conducted by B. WALTON O'DONNELL

Coronation March - Cowen
3.40 LEILA MEGANE 0 love, from thy pow'r - Saint-Saëns
Les Lannes (Tears) - Massenet
Land of Hope and Glory - Elgar
3.45 BAND Overture to au Irish Comedy - John Ansell
4.0 TREFOR JONES Sweet Little Linnet - Vaughan Williams
In the Silence of Night - Rachmaninov
Love's Quarrel - Cyril Scott
4.5 BAND Four Norwegian Dances, Nos. 1-4 - Grieg
4.20 LEILA MEGANE A Swan - Grieg
Morgen (Tomorrow) - Richard Strauss
Don't como in, Sir, please - Cyril Scott
4.27 TREFOR JONES Araby - Armstrong Gibbs
The sun returns (' Eugene Onegin') - Tchaikovsky
4.35 BAND Contrasts : The Gavotte (1700-1900) - Elgar
Chanson du Matin (Morning Song) - Elgar
Mazurka - Elgar
4.48 LEILA MEOANE The Blind Ploughman - Coningsby Clarke
I loved a lass - Osborne Roberts
Dafyddy Garreg Wen (Welsh Air) - arr. Osbornc Roberts
4.54 BAND Rhapsodic Dance, ' The Bamboula' - Coleridge-Taylor
5.4 TREFOR JONES Come not when I am dead - Holbrooke
Padraic the Fiddler - Larchet
Fair House of Joy - Quitter
5.10 BAND Suite from Xavière ' - Dubois

: FOUNDATIONS OF ENGLISH POETRY -IV, 'The Eloquence of Shakespeare.' Readers: FAY COMPTON and JOHN GIELGUD

LAST week's broadcast in this series included some of Shakespeare's loveliest lyrics. This afternoon will be read typical examples of his dramatic poetry-the introspection of Hamlet's ' to be or not to be,' the rhetoric of Portia's 4 quality of mercy ' speech, and other famous passages from The Tempest, Julius Cœsar, Richard II, and King Lear.

: DAVENTRY ONLY

A RELIGIOUS SERVICE IN WELSH
Relayed from BETHLEHEM WELSH CONGREGATIONAL CHURCH, CARDIFF
S.B. from Cardiff.
Emyu, 'Talyllyn' (Rhif. 465, Caniedydd
Newydd)
Darllen, Rhan or Ysgruthur '
Emyn, ' Beddgelert ' (Rhif. 628, Caniedydd
Newydd)
Gweddi
Anthem, ' Gair ein Duw' (Rhif. 32, Caniedydd Newydd)
Emyn, ' Brwynog' (Rhif. 956, Caniedydd
Newydd)
Pregeth, Llywelyn C. Huwa
Emyn, ' In Memoriam' (Rhif. 573, Caniedydd Newydd)
Y Fendith ApostoJaidd Hwyrol Weddi

: LIVERPOOL CATHEDRAL

A SPECIAL SERVICE
S.B. from Liverpool
(Full details of the Service will be found on page 113.)

: THE WEEK'S GOOD Cause : An Appeal on behalf of the Princess Louise Kensington Hospital, by Sir JOHNSTON FORBES-ROBERTSON

THE Royal Borough of Kensington is, in its better-known parts, one of the most prosperous districts in all London. One of its divisions, however-North Kensington-differs from the rest; it includes a large area whoso inhabitants are mostly poor, or at least poor enough to have to live under conditions that make the care of a sick child impossible. It is to meet their needs that the Princess Louise Hospital has been re-established in North Kensington; a site has been secured for an Out-Patient Department, and two Ward Blocks have been built and are to be formally opened by the King and Queen in May. To clear off the debt in time for the opening means raising £6,000 immediately, and in addition £15,000 is required for a Nurses' Home, which would free thirty-six beds for child patients, raising the total number to seventy.
Contributions should be addressed to [address removed]

: A LIGHT ORCHESTRAL CONCERT

DORIS VANE (Soprano) ; HENRY WENDON
(Tenor); STUART ROBERTSON (Bass); W. H. Squire (Violoncello)
THE WIRELESS SINGERS
THE WIRELESS ORCHESTRA, conducted by STANFORD ROBINSON
THE British National Opera Company has made The Perfect Fool familiar throughout the country during the last few years.
These dances come at the beginning of the Opera. It is night. A wizard is performing his magic rites. He calls upon the Spirits to aid him.
After an Introduction, we have the Dance of the Spirits of Earth, upon whom the wizard calls to bring him a cup for working magic. This dance is built on a constantly and regularly moving bass.
There is, in the second part of the dance, a change of rhythm to seven-time.
The next dance is that of the Spirits of Water, whom the magician commands to fill his magic cup with sweetest essence of love, distilled from aether.'
Then he calls upon the Spirits of Fire to dwell within the cup, ' burning, blasting, scorching.' mHOMAS AUGUSTINE ARNE (1710-1778) was a maker of good tunes, as Where the bee sucks, and Rule, Britannia! bear witness to this day. (It was of the latter tune that Wagner once said : 'The first eight notes contain the whole character of the British people.') But for the priceless gift of melody, Ame could not have ranked with the musicians of history, and even with it, he does not stand among the first of them; but ingenuity and assiduity carried him far. He attempted works on a large seale—Masques, Operas and Oratorios. His Opera, Artaxerxes, brought out in 1762, is a landmark, for it was the first English work to have sung recitative throughout, instead of spoken dialogue. Another of his novelties was the employing women to sing in Oratorio. Up to his day, boy sopranos and men altos had sung the upper parts.
At a time when Handel was the most powerful influence in this country, Arne did well to gain so largo a place in public esteem. He was a personal friend of Handel, who was twenty-five years his senior.
This Motet was a funeral piece written by Arne whilst he was organist at the Sardinia Embassy Chapel. It consists of several movements : (1) Five part chorus, Libera me, Domine, de morte œsterna ; (2) Bass Solo, Tremens foetus sum ego ; (3) Chorus, Quando ceeli movendi sunt ; (4) Tenor Solo, Dies ilia, dies irœ ; (5) Chorus, Dies magma ; (6) Soprano Solo, Requiem œternam ; (7) Chorus, Requiescat in pace.








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