From York Minster
S.B. from Leeds
At 9.50 the Massed Bands of the 5TH INNISKILLING DRAGOON
GUARDS, the 1ST NORTHUMBER-LAND Fusiliers, and the 1ST GREEN HOWARDS, will play.
Order of Service :
Psalm xlvi, 'God is our liope and strength '
The Lesson, St. Mark xii, 28-31 Benedictus
The Apostles' Creed
Lord's Prayer and Collect
Anthem : Lord, Thou hast been our refuge from one generation to another
Hymn 450, ' '0 God, our help in ages past'
Bidding Prayer, followed by Sermon Preacher. THE ARCHBISHOP or YORK Hymn 643, ' Onward, Christian
The National Anthem
(For 3.30-5.15 Programmes see opposite page)
MAY HUXLEY (Soprano)
EDA KERSEY (Violin)
THE WIRELESS ORCHESTRA
Conducted by John ANSELL
THIS Symphonic Poem of Saint-Saens is based on the old classical tale of how
Phaeton persuaded his father, the Sun, to let him drive the fiery chariot across the sky. Listeners will rememberithat in the old tale the horses got out of hand, and the chariot was on the point of crashing into the earth to wreck it, when Jupiter hurled a thunderbolt which deetroyed the youth and his car.
There is a short and impressive-introduction and then we hear the galloping steeds, and, a little later, a pompous tune on the brasses no doubt stands for the young Phaeton himself. Four horns afterwards play a fine broad melody which is thought to be the dirge of the Sun over the boy's death. The music works up to a great pitch of excitement, and against a strenuous version of the Phaeton theme we can quite clearly hear the falling of the thunderbolt, and, at last, the lament.
THE work from which this
Waltz is taken was a ballet, based on the favourite fairy tale of the Princess asleep amid the well-nigh impenetrable thicket of briars. It was in a prologue and three Acts and Tchaikovsky composed the music for all these. This waltz has remained its most popular number; it is a particularly happy example of Tchaikovsky's facility in writing flowing and melodious dance tunes.
IN the course of his long and active career-he appeared first in public, as a pianist, at the age of five, and took part in a concert in honour of his own eightieth birthday—Saint-Saêns, founder and unchallenged leader of the modern French school of music, produced fine work in almost every know form. This, the third of his Concertos for Violin and Orchestra appeared in 1881, Sarasate playing it in Paris.
The first movement, in quick time, has two chief tunes, both of which are introduced by the solo instrument. The first, an impassioned melody, is in minor, and the second, which does not appear until the movement has run a good part of its course, is of happier character in the major mode.
The slow movement is tuneful and song-like throughout, and the soloiet has fine opportunities of displaying the singing qualities of his instrument.
The last movement is rich in themes; four are heard in the course of it. Brilliant passages for the solo violin introduce the first, a buoyant, happy, tune ; the second, calmer but with a hint of energy, follows soon, and the third, also played first by the soloist, presents a peaceful mood. Slowly and softly the strings introduce the fourth tune, a contemplative, devotional, melody, and on these is built up a movement of constant interest and charm.
Commander E. W. E. CALLWELL , O.B.E., R.N. (Rtd.), 'Creating a Public School on the Equator '
AFTER rising to the rank of commander in the British
Navy, and seeing service in many parts, including Zeebrugge, Commander Callwell decided, like many another sailor, to take up farming. He settled in E. Africa, but serious illness compelled him to spend much time in a mission hospital. Here he was struck by the need and possibilities of education for African youth, and on his recovery, lie offered his services to the C.M.S. as a master in their great school at Budo, Uganda. He is now building up a school in the Toro province of Uganda, within a few miles of the Equator, where he is working out some of his own education ideas. He retains, for instance, the prefect system of our own schools, but allows no fagging. The school already has a reputation for sport, and it is clear that Commander Callwell is introducing a breezy note into tropical Africa.
(For 5.30 to 5.45 Programme see opposite page.)
'A Sermon on Isaias xxvi, 13-21. Preached on Sunday 19th August, 1565, by John Knox , Minister of Christ Jesus, In the Public audience of St. Giles' Church in Edinborough, for the which the said John Knox was inhibited preaching for a season.'
THE courage and eloquence displayed by Hugh Latimer in England was shared in Scotland by another champion of the Reformation, John Knox. Never fearing the face of any man and often threatened with dagge and dagger, he became the leader of the Reformed Church in Scotland, and by his indefatigable preaching, laid the foundations of the Scottish Kirk.
It is curious that of all the sermons of a man whose eloquence was so renowned, only one is preserved. And this he wrote down indigestly amid the terrible roring of gunnes and the noyce of armour, but yet truely so far as memory would serve of those things he spake for which he was discharged to preach. Lost are those famous extempore exhortations, which led Mary Queen of Scots to cry out in a vehement fume, that ' never Prince was used as she was,' while Knox answered ' Without the preaching place, Madame, I think few have occasion to be offendit at me; and thair, Madame, I am nott maister of myself but must obey Him who commandis me to speik plane, and to natter no fleshe upon the face of the earth.'
(No. 129) J Bach
Relayed from the Guildhall School of Music
'GELOBET SEI DER HERR, MEIN GOTT'
('I Praise Thee evermore, my God')
NOEL EADIE (Soprano) ASTRA DESMOND (Contralto) STUART ROBERTSON (Bass) LESLIE WOODGATE (Organ) FRANK ALMGILL (Flute) John FIELD (Oboe d'Amore) S. KNEALE KELLEY (Solo Violin)
THE WIRELESS ORCHESTRA (Trumpets, Tympani, Flutes, Oboes, and Strings)
The WIRELESS CHORUS
Conducted by STANFORD ROBINSON
This is one of a set of fifteen Chorale Cantatas composed somewhere between
1728 and 1734. Several of the fifteen have already been broadcast, so that listeners have learned something of the infinite variety which Bach could impart to different presentations of the same form. Each of the fifteen Cantatas is cast in very much the same mould, and yet each has a very definite character of its own. In all of them the chorale, which is its basis, is used in one way or another practically throughout, and in the opening chorus is usually given, as in this one, to the soprano voice. The other voices weave interesting parts about it and though the orchestral accompaniment is independent, it has always some kinship with the chorale melody itself.
Reference has often been made in these notes to the way in which Bach uses characteristic motives, and his motive of joy has been heard in many of the Cantatas already broadcast. But nowhere does it rise to such an exhilaration of happiness as in the accompaniment here.
A farther interest in this Cantata is the way in which each verse sets forth a new aspect of praise, and each verse begins with the same words.
A very rich and full accompaniment makes the final Chorale a truly impressive one.
English text by D. Millar Craig, Copyright
British Broadcasting Corporation, 1929. I. Chorus.
I praise Thee evermore, my God, My Light, my Life-breath, My Maker, 'tis from Thee That flesh and Spirit cometh. My Father, Thou dost guard
From childhood all life's day, And every passing hour
Dost bless me on my way.
II. Aria (Bass).
I praise Thee evermore, my God, my Grace, my Life-breath
The Father's only Son, fer me Himself He giveth;
Who by His precious blood, redeemed hath my Soul
And, one with Him in faith, hath sav'd and made me whole.
III. Aria (Soprano),
I praise Thee evermore, my God, my Peaces my Life-breath,
The Father's Holy Ghost to me the Saviour giveth;
He doth my heart Inspire, my falling strength renew,
And in my sorest need, He is my Helper true.
IV. Aria (Alto).
I praise Thee evermore, my Cod Who ever livest,
Let all things praise Thee, all whose life and breath Thou givest...
I praise Thee evermore, amid Thv heav'nly Host,
The Father, God the Son and God the Holy Ghost.
Now every heart and voice a glad Hosanna raises,
And as the heav'nly Host sing Holy, Hely praises,
So from Thy people still, our song shall rise to Thee;
We praise Thee Lord our God, through all
From the Church of Our Lady- of Victories, Kensington
Order of Service :
Scripture Reading: Gospel of the 5th Sunday after Easter (John xvi, 23-30)
Hymn, Soul of my Saviour (Westminster Hymnal, No. 74) Address by the Rev. John P.
ABENDZEN, D.D., D.Ph., M.A.
(For 8.45-10-30 Programmes see opposite page)
Appeal on behalf of the Kensington, Fulham and ChelseaGeneral Hospital by The MARQUESS OF CARISBROOKE, G.C.B., G.C.V.O. rpHOUGH Kensington is one of the richest boroughs in London, it possesses the poorest hospital. The Kensington, Fnlham, and Chelsea Hospital is the only institution, with an out-patient department, between St. George's and the West London Hospital. It serves a population of 500,000. The present inadequacy of the Hospital is to be remedied by a rebuilding that will cost some seventy thousand pounds-of which twenty thousand has been subscribed so far.
Contributions should be sent to [address removed].
and The Park Lane Hotel
From the Park Lane Hotel
WINIFRED DAVIS (Mezzo-Soprano) Selection, Merrie England ' - German
To a Wild Rose - Mac Dowell
To a Water Lily - Mac Dowell
WINIFRED DAVIS Nobil Signor ('The Huguenots') - Meyerbeer
ORCHESTRA Suite, Picturesque Scones - Massenet
ALBERT SANDLER (Violin) Valse Buette - Drigo, arr. Aner
Romance - Svendsen
WINIFRED DAVIS The Lament of Isis - Bantock
Falling Blossoms - Yvonne Sawyer
ORCHESTRA Fantasie, ' Madame Butterfly ' - Puccini.
' IN His WILL is Our PEACE'