Ⓓ From page 57 of ' New Every Morning'
Eyes from Within by a Doctor
Music and Movement-2
For Juniors ANN DRIVER
by RALPH T. MORGAN from the Church of St. Mary Redcliffe,
Directed by HENRY HALL
Under the direction of JOHAN HOCK from Queen's College Chambers Lecture
THE BIRMINGHAM PHILHARMONIC
Leader, Norris Stanley
Conductor, JOHAN HOCK
BEATRICE HEWITT (pianoforte)
' North Island'
RAYMOND FIRTH, Ph.D.
2,30 Feature Programmes and Topical Talks
Beasts of Burden
3.0 English Literature—1
A Play made from a Greek Legend
'King Midas', by L. du Garde Peach
3.20 Special Music Interlude
3.35 Talk for Sixth Forms
Sir JOHN BOYD ORR , F.R.S., Director of the Rowett Institute for Research in Animal Nutrition, Aberdeen
Sir John Boyd
Leader, Alfred Cave
Conducted by REGINALD BURSTON
including Weather Forecast f.20 National Bulletin for Farmers
A Broadcasting Version of the Fantastic Musical Play
Book by Mark Ambient , A. M. Thompson , and Robert Courtneidge
Lyrics by Arthur Wimperis
Music by Lionel Monckton and Howard Talbot
Characters in the order of their appearance
Arcadians, Patrons of the Arcadian
THE BBC REVUE CHORUS and THE BBC THEATRE ORCHESTRA conducted by MARK H. LUBBOCK
Act 1. Arcadia
Act II. Askwood Race Course
Act III. The Arcadian Restaurant
Adaptation and Production by GORDON MCCONNEL
The Arcadians ' was broadcast in the Regional programme on Wednesday
Names Smith, of Smith & Co , caterers:
Simplicitas, an Arcadian:
Jack Meadows, an owner-rider:
Bobby, his friend:
Sir George Paddock, a racehorse owner:
Peter Doody, a jockey:
Visits the Masthead of the
National Transmitter at Droitwich
Just before daylight on a recent morning Kenneth Adam climbed to the top of the Droitwich masthead, 823 feet high, and as dawn broke over England he described what he saw. An electric recording of his talk was made, and it will be heard by listeners tonight.
including Weather Forecast and Forecast for Shipping
The Direction of Shipping in Time of War
Sir ARTHUR SALTER , K.C.B.
Sir Arthur Salter , drawing upon his experiences in the war, will show in his talk tonight how necessary it was for the Government to take control of all shipping services, and explain how later it became necessary for a Central Council to take control of all the Allied shipping so that every ship could be used to its best advantage. He will also describe the difficulties of deciding whether munitions for the Front were more urgently required than food for the civil population. He will then go on to show how post-war inventions, especially the increased efficiency in the air, have affected the problem of the direction of shipping in time of war. He will describe the effect upon ports, railways, and roads which would be caused by the London docks being put but of action from the air, and will end with a vivid description of the problems facing those responsible for defence.
Sir Arthur, who has been Professor of Political Theory and Institutions at Oxford since 1934, and a Member of the Economic Advisory Council since 1932, was Assistant Director of Transports at the Admiralty in 1915, and Director of Ship Requisitioning in 1917. The following year he was Secretary of the Allied Maritime Transport Council and Chairman of Allied Maritime Transport Executive.
THE STRATTON STRING
George Stratton (violin)
Carl Taylor (viola)
Watson Forbes (viola)
John Moore (violoncello)
Programme arranged with the collaboration of Dr. Karl Geiringer of the Gesellschaft der Musikfreunde, Vienna
Led by MARIE WILSON
Conducted by LESLIE HEWARD
ADOLPH HALLIS (pianoforte)
ERNEST HALL (trumpet)
Shostakovitch's Concerto for piano, trumpet, and strings was first performed in England at a Promenade Concert on January 4, 1936. Like most of the music of the best contemporary Russian composers, the music of this Concerto avoids the exploitation of ultra-modern devices. In an article on this work M. D. Calvocoressi says : ' The whole scheme is based on dialogue and cooperation rather than on contrasts. The piano, in fact, has no solo of any importance except two brief ones in the finale. And-in keeping with the composer's policy of simplicity and moderation-the piano part is one that makes no demand whatever on virtuosity. On the other hand, the composer is not afraid of entrusting sustained melodies to the piano and asking it to sing.'