at the organ of The Regal, Marble Arch
From the Town Hall, Birmingham
The City of Birmingham Orchestra
(Leader, Paul Beard)
Conducted by Leslie Heward
Mrs Lucy Seymer, SRN: Taking Care of the Convalescent
For Senior Pupils
Commander Stephen King-Hall: Tracing History Backwards - III, Security
14.30 Speech Training
Mr A. Lloyd James: King's English, More Ear Training
Dr Ernst Deissmann and Fraulein Clare von Both: Dialogues - II, In der Sprechstunde des Rechtsanwalts
Directed by Joseph Meeus
From Grosvenor House, Park Lane
West Country Songs, sung by Frederick Chester, who will also tell the story of how 'Julia goes to Town'
The story of 'The Ogre who wanted a Job', written and told by Ralph de Rohan
Weather Forecast, First General News Bulletin; London Stock Exchange Report and Bulletin for Farmers
Modern English Organ Music
Played by O. H. Peasgood
Relayed from St Margaret's, Westminster
Mr Otto Siepmann
Notices of Service Reunions
General Notices connected with Government and other Public Services
Professor W. G. S. Adams (Gladstone Professor of Political Theory and Institutions, Oxford)
Last week, Professor Adams outlined the effects of various forms of parliamentary government and discussed what the system as a whole has achieved. Tonight, he considers its defects, with special reference to its use in the United Kingdom, and compares it with other posssible forms of government. Next week he will sum up his arguments and will consider whether parliamentary government can be made more efficient, and whether it is still the best possible form of government. On Thursdays after that, Sir Arthur Salter, the well-known authority on international affairs, will give a series of six talks on the problem of world government.
Professor W. G. S.
Old Songs and Dances
Compiled by Joseph Lewis
Harold Williams (Baritone)
The BBC Orchestra (Section E)
Conducted by Joseph Lewis
If John Liptrott Hatton had done no more than compose the song âTo Anthea â, beloved of Santley and every singer since, he would still have had a place of honour among English musicians. But he did much more for music and for England than that. A native of Liverpool, he spent most of his busy life in London, though he produced an opera of his own in Vienna, and made music in America, too. He was connected with more than one London theatre, and wrote incidental music for many of Charles Kean 's productions at the old Princess's. Sacred music came within his scope also, and a Biblical drama, with music by him, was given at the Crystal Palace in 1877; it was called âHezekiahâ. And there is at least one record of his having appeared as a singer himself; that was at a concert of the old Dublin Philharmonic Society, when Sims Reeves was one of the other artists. Born in 1809, he died, at Margate, within three weeks of his seventy-seventh birthday.
Charles Dibdin, too, was connected for many years with one or other of the London theatres and composed many stage pieces, of which more than one is still occasionally heard. The greater part of the music in âLionel and Clarissaâ, for instance, was his, and âThe Watermanâ, âThe Ephesian Matronâ, and âThe Quakerâ are not by any means forgotten. But one of his most interesting enterprises was an entertainment in which he not only wrote the words and composed the music, but sang, recited, and played, providing the whole evening's programme himself, under the title 'The Whim of the Moment'. It was for this that many of his best-known songs were written. âTom Bowlingâ, most popular of them all, was composed as a sincere expression of grief on the death of Dibdin's eldest brother, whose name really was Tom. He was skipper of a merchant-man on the Indian Service. Charles himself once had it in mind to pay a visit to India, and, to raise the necessary money, made a concert tour throughout most of England. His account of the tour, published in 1788 as âThe Musical Tour of Mr. Dibdin', was the only result; although he actually embarked for India, stormy weather decided him to abandon the project, and he went no farther than Torbay.
Richard Leveridge, who gave England such classics as âWhen Dull Careâ, âAll in the Downsâ, and âThe Roast Beef of Old Englandâ, was a great singer himself, endowed with a mighty bass voice of such vigour that at the age of sixty he could back himself for a hundred guineas against all bass comers and find none to take up the challenge. Bom about 1670, he sang in performances of Dr Blow's, Purcell's, Handel's, and Doctor Arne's music, as well as in many of the Lincolns Inn Fields and Covent Garden masques and pantomimes. His name first appears as a singer in 1695, and he gave his last benefit performance in 1751, when, as far as we can be sure, he was over eighty years old.
He was an industrious composer, too, chiefly of music for the theatre, and for some years he combined the tasks of singer and composer with the running of a coffee-house in Covent Garden. The Fitzwilliam Museum at Cambridge has a set of incidental music of his, written for a production of âMacbethâ in 1702, in which he took part himself.
Weather Forecast, Second General News Bulletin
Mr Vernon Bartlett
A Play for the Microphone by Julian Crane
by Reginald Goss-Custard
Relayed from St Michael's, Chester Square
Conducted by the Rev. W. H. Elliott
From St Michael's, Chester Square
('Temptation in the Twentieth Century')
Rev. W. H.
JACK PAYNE and his B.B.C. DANCE ORCHESTRA