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Relayed from Westminster Abbey

: Miss May: Little Industries of the English Countryside

Centuries ago, practically every cottage in an English village was not merely a bakery and a brewery, but a workshop, where some craft was carried on; and many villages had local industries on which most of the inhabitants lived. With the coming of factories, mass-production, and centralization, things changed; the home-made bread, homespun, and home-brew vanished, and the industries of the countryside died out. In many ways this was a bad thing for the rural population, and lately some of these industries have been revived. Miss May is attached to the Rural Industries Bureau, and in this talk she will give some of the results of their survey of the industries that were once dotted over the countryside.

: THE ASTORIA Orchestra

Directed, by FRED KITCHEN, from the Astoria Cinema


From the Astoria. Cinema

: The Children's Hour

Songs at the Piano by Gwen Knight
'Bill the Bear' (J. C. Stobart) will be told by Gladstone Murray
'Man-eaters, Lions, and Tigers,' as described by Captain F. G. Dollman

: The Foundations of Music

Beethoven's sonatas for violin and pianoforte
Played by Ernest Whitfield and Kendal Taylor
No. 8—First and Second Movements
This Sonata, the last of the three that make up Beethoven's Op. 30, contains a large proportion of captivatingly merry music.
The very first notes of the First Movement are infectiously gay, and the alternations of the bustling, running, twelve-notes-to-a-bar motif, and the dancing six-notes-to-a-bar motif, are piquantly kept up.
A rather long, demurely attractive Minuet, in Haydnish style, follows as Second Movement.

: Principal G.A. Sutherland: Sound in Buildings

S.B. from Manchester
It has often happened in the past that public buildings of the most elegant architecture and noble proportions have turned out when built to be almost entirely useless for their purpose on account of faulty acoustics. Probably half the Town Halls in the country have the property of conveying a speaker's voice straight up to the rafters and flinging it back in a complicated pattern of echoes that completely baffle the attentive ear. Nowadays, acoustics is becoming an important branch of architecture, and Principal Sutherland, who is to talk this evening, is one of its leading authorities. He is a member of the Privy Council Advisory Committee on Architectural Acoustics, and he was partly responsible for the new Friends' Meeting House in London, one of the most successful of modern buildings from the point of view of sound.


Relayed from the Biahopsgate Institute
THE libretto of Belshazzar was written by that friend Jennens who three years before had arranged for the composer the words of Messiah. Jennens wrote so much that Handel said Belshazzar would occupy four hours in performance, and as Jennens would not make cuts, the' masterful composer did that himself.
The usual form of the work heard nowadays is an abridged version.
After the Overture (slow Introduction and fugal quick portion), the First Scene opens. In an apartment in Bolshazzar's palace in Babylon sits the king's mother, Nitocris (Soprano), who muses on the 'vain, fluctuating state of human empire.'
The next Scene is the camp of Cyrus, leader of the Persian army, before Babylon. A chorus of Babylonians on the city walls derides the besieging Persians. Cyrus (Bass) exhorts his followers to press on the attack, for they trust in God.
The Third Scene is the house of the prophet Daniel (Bass). He is discovered with other Jews, encouraging them with the promise that the long-foretold time draws near when God shall end their captivity.
Scene Four is the .Palace of Belshazzar
(Tenor). The King decrees a feast. Seeing the sad faces of the Jews, he orders that their sacred vessels, which his grandfather captured from the Temple at Jerusalem, shall be used. The JeWs beg him not to lay profane hands on the holy vessels, and Nitocris warns him to go no farther in this. He scoffs at prudence, and will have his way. Nitociris pleads further with Belshazzar in a duet. She fears he is risking destruction by his impiety. ' Not to destruction, but to delight I fly,' he replies.
The Jews in chorus prophesy that God's wrath will surely descend on Belshazzar.
This ends the First Part of the work, all that is now to be broadcast.
[The Second Part tells of the preparations of the Persians for the assault of the city, whilst within it Belshazzar feasts. In the midst of the revelry the hand writes upon the wall Mene, mene, tekel, upharsin.' Daniel interprets the dread warning, and immediately a messenger rushes in to tell that the Persians have taken the city. The work ends with Cyrus and his followers freeing the Jews.]


Specially designed and arranged by the well. known theatrical director


ORPHEANS, FRED ELIZALDE and his Music, and the Savoy TANGO BAND, from the Savoy Hotel

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