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: The New Morning Talks Programme by the DIRECTOR OF GENERAL TALKS

AMONGST other things, the Director of General
Talks will call attention to an important innovation in the Morning Talks. Hitherto, all these talks have been given from 10.45-11.0 a.m. In these next four months the talks on cooking (Mondays) and the talks on the handling of children (Thursdays) are to be given at 1.45 p.m., in order to ascertain whether this is an easier time for housewives who, though at home in the morning, find it difficult to interrupt their morning's work to listen to a talk. On the other days of the week the talks will be at 10.45 a.m., as before. Further, in response to requests from different parts of the country, the needs and interests of unemployed men and women have been kept closely in mind, and it is hoped that the various series of morning talks-particularly those on Tuesdays and Wednesdays, will be of practical use and interest to them as well as to the regular morning listeners. On Mondays, instead of the usual travel talks-which are now on Wednesdays—there are ' Hints from Other Cooks,' followed by the weekly Household News Bulletin. On Tuesdays, practical advice to allotment-holders, and listeners who wish to make full use of their gardens or back yards. On Wednesdays, first a series of talks on keeping fit in winter, then the popular travel-talks, this time taking the fonn of talks by foreigners about what people are'thinking and doing in their own countries. On Thursdays, a series of six talks on ' Nursing at Home,' then ten on the treatment of the difficult child by various experts. The Week in Westminster will be described on Fridays instead of Wednesdays ; and on Saturdays the usual account of the week's news will be given. All these arrangements are summarized in the Supplement which you can tear out of the middle of this issue. The talks are more than ever practical, as will be seen-as is fit in these hard times.

: An Organ Recital

by WALTER S. VALE
Relayed from ALL SAINTS', MARGARET STREET
Prelude and Fugue in B Minor .......... Bach Fantasy in D Flat, Op. 101........Saint-Saëns Concerto No. 1, in G Minor ............ Handel
Larghetto ; Allegro ; Adagio ; Andante
Prelude in D Minor ................ Chaminade
, at 1.0

Contributors

Unknown: Walter S. Vale

: A RECITAL OF GRAMOPHONE RECORDS

By CHRISTOPHER STONE

Contributors

Unknown: Christopher Stone

: MOSCHETTO and his ORCHESTRA

From THE DORCHESTER HOTEL

: The Children's Hour

' Counting Sheep' and other Songs, words by DEREK MCCULLOCH , music by MAYNARD GROVER , sung by SrtrART ROBERTSON , with the Composer at the piano
'Idylls of the King' (Tennyson)
At approximately 5.35 p.m., ' HERE AND THENE' -a Summary of the Week's News, by STEPHEN KING-HALL

Contributors

Unknown: Derek McCulloch
Music By: Maynard Grover
Sung By: Srtrart Robertson
Unknown: Stephen King-Hall

: ' The First News'

WEATHER FORECAST, First GENERAL NEWS BULLETIN; London Stock Exchange Report and Bulletin for Farmers

: The Foundations of Music

STRAUSS SONGS
Sung by LINDA SEYMOUR (Contralto) and JOHN ARMSTRONG (Tenor)

Contributors

Sung By: Linda Seymour
Tenor: John Armstrong

: THE B.B.C. MUSIC CRITIC

Mr. ERNEST NEWMAN

Contributors

Unknown: Mr. Ernest Newman

: JACK PAYNE

and his
B.B.C. DANCE ORCHESTRA

: ' The Second News '

WEATHER FORECAST, SECOND GENERAL NEWS
BULLETIN

: THE WAY OF THE WORLD

Mr. VERNON BARTLETT
(Continued on opposite page.)

Contributors

Unknown: Mr. Vernon Bartlett

: The B.B.C. Studio Orchestra

(Leader, ARTHUR CATTERALL )
Conducted by FRANK BRIDGE
ARTHUR FEAR (Baritone)
ORIENTAL subjects always had a strong fascination for Rimsky-Korsakov, and in this Suite the East, with its blazing sunshine and its brilliance of colour, is vividly presented in the music. The subject is, of course, from the Arabian Nights, and the composer prefaced his score with the following note: 'The Sultan Schahriar, convinced of the infidelity of the whole race of women, has sworn to send each of his wives to death after only one bridal night. But Scheherazade saves her life by interesting him in tales which she recounts one after another for one thousand and one nights. Impelled by curiosity, the Sultan puts off from day to day the fate of the lady, and ends, as all the world knows, by renouncing his bloodthirsty intention.' The four stories which are used as subjects in the several movements in the Suite are : 1. The Sea and Sinbad's Vessel. 2. The story of the Prince Kalandar. 3. The Young Prince and the Young Princess. 4. Fete at Bagdad. The Sea. The ship is wrecked against the rock surmounted by the Warrior of Brass. Conclusion. The movements illustrate the tales with which listeners must all be familiar, so that analysis is hardly necessary. Was duftet; Wahn! Wahn
To call him 'Wagner's cobbler-poet,' as heedless people do, is sheer libel. A cobbler can do no more than mend your shoes, and even that with no deft hand. 'Truely, Sir,' says Shakespeare, 'in respect of a fine workman, I am but as you would say, a Cobler.' Sachs was not only a mastersinger, but a mastercraftsman ; for nearly sixty years he was head of the shoe-makers' guild in his own city of Nuremberg. Scholarship, in his day, was the foundation on which good shoes were built, and Sachs had a sound knowledge of the classics before he ever took a last in hand. Then, his apprenticeship over, he had to see something of the world ; custom ordained it, after the fashion of ' the grand tour' which our own forefathers undertook. Sachs spent his ' wander-years' in different parts of Germany, working at his craft, and making shrewd observations of people and places. But by the age of twenty-two ho was at home again, and lived there honoured and loved by all about him, to the good old age of eighty-two.
It is not recorded how many shoes he made, but we have his own word for it that he wrote 4,275 ' mastersongs,' and close on 2,000 dramas and tales in verse, on Biblical, classical, or topical subjects, serious and humorous. Wagner's portrait of him is no doubt as true to life as opera allows, and in these two monologues we learn a good deal of his kindly philosophy. In the first one, the summer evening fragrance of an eldertree before his door sets him off on a train of musing ; in the other, it is an old book which calls to his mind a thought of the crazy way in which mankind blunders through the world.
THE last scene of The Mastersingers is a meadow on the banks of the river Pegnitz, just outside the town. It is the morning of St. John's day, Midsummer Day, which has throughout the centuries been a joyous Festival in all the German-speaking lands. A song contest is to be held on the meadow, with the Masters as judges, and'the prize is no less a one than the hand of Eva, daughter of the wealthy Pogner, himself one of the leaders in the Mastersingers' Guild. The whole town is making holiday, and the scene is a merry one; apprentices and journeymen dance with their wives and sweet-hearts, coming now to the front of the stage, and again moving away towards the river. The music, in an old-fashioned waltz measure, is a delightfully humorous blend of youthful mirth and the archaic solemnity which surrounded festivals in those more stately days.
The dance music- makes way for the entry of the Masters, as each Guild arrives in turn, with banners flying and with all its traditional pomp and ceremony. The music is full of merry allusions to the insignia of the different Guilds, and again solemnity is blended with- many touches of sly humour. The different Guilds take their places round the arena, the Mastersingers being the last to arrive, and the music leading up to the hymn with which the people acclaim their beloved Sachs. It is a setting of a hymn by the real Hans Sachs of history.

Contributors

Leader: Arthur Catterall
Conducted By: Frank Bridge
Baritone: Arthur Fear
Unknown: Sultan Schahriar
Unknown: Hans Sachs

: DANCE MUSIC

THE SAVOY HOTEL ORPHEANS, from THE SAVOY HOTEL








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